From performing in “The Tempest” at U-High to directing “Still Life,” a theater of testimony piece about a Vietnam War veteran that was performed on Broadway, Emily Mann has distinguished herself as a leading voice in American theater. A 1970 U-High graduate, Ms. Mann received the 2026 Distinguished Alumni Award in recognition of her work that centers on themes such as human rights, feminism and the immigrant experience. Ms. Mann’s responses have been lightly edited for clarity, length and style.
What draws you to theater?
“I’m interested in human beings, in the human heart and mind, how people behave in certain situations. Being a second-generation Holocaust survivor, I’m interested in how people did or did not stand up to facism, how people did or could not survive. History, psychology, art, music, literature — it all comes together in the theater.”
What type of student were you at U-High?
“I was a theater kid. I came at the start of ninth grade from a New England, strict, old-fashioned public school. Coming to U-High blew my mind. Suddenly, there was experimental learning going on. I came in the late ’60s, which was a very tumultuous time politically. The women’s movement was on fire, as was the anti-war movement and civil rights. We were engaged in all of that. It was a real crucible.”
What’s your favorite memory from U-High?
“One day, I went up to Belfield Tower because I had a crush on a boy. He was an aspiring actor and I saw him rehearsing. He was in a spot of light. There were no props, no scenery, he was just playing a character in this beautiful poetic drama, ‘Under Milkwood’ by Dylan Thomas. He was Nogood Boyo — I remember it so vividly to this day. And I thought, ‘Oh my God, I want to do that. This is magic.’ And that’s how my love for theater started.”
Who were your mentors at U-High?
“Bob Kyle inspired me to become a director. I started out doing props and sweeping the floors, and then eventually ended up acting. He said ‘I think you should try directing because you see the whole play, not just your part.’ I tried it, everything came together and I found my life’s work.”
One of your plays, “Gloria: A Life,” centers around Gloria Steinem’s story. What was it like to take the experiences of a public figure and translate them to the stage?
“It was an extraordinary experience. Gloria asked me to write it. She had seen my play, ‘Having Our Say,’ on Broadway and loved it. When she was asked to have her stage biography done, she called me. She was one of my great heroes, so I immediately said yes. I shaped it as a play, but I did it with her.”
You write and direct. How do you navigate the differences between them?
“I ask myself that question every day! Directing is all about honoring the script and digging deep. When it’s a new play, you’re digging, but you’re also working with a playwright. The playwright may be constantly writing, rewriting and perfecting that play, so you’re in service to that. The script is the bible, and you have to make it work.”
Do you have any advice for the current high schoolers and the seniors as they begin to embark on their college journeys?
“Do what you love. It won’t necessarily be easy. It certainly wasn’t for me. You’ll be dealt a lot of blows, and you’ve got to pick yourself back up and continue to do what you love. I have no regrets having chosen a life in the theater. When I decided to go to drama school, my Harvard adviser said, ‘You know my dear, you might be very talented, but women can’t direct professionally.’ In my mind, I said ‘You watch me.’ The anger helped me for a long time. And if you can, find mentors. You have to crash through the barriers and open the doors.”
