Jonathan Norton: Dallas Playwright on ‘Malcolm X & Redd Foxx’ & Leading DTC

Playwright Jonathan Norton is navigating a fascinating moment of change at the Dallas Theater Center (DTC), balancing his roles as interim artistic director and resident playwright. The shift came about following the departure of Sarahbeth Grossman, artistic producer for six years, and the promotion of Kevin Moriarty to executive director in 2023. Norton, who has been with DTC since 2019, is now leading the charge as the theater prepares for a busy season, including the premiere of his new play, Malcolm X and Redd Foxx Washing Dishes at Jimmy’s Chicken Shack in Harlem.

Norton’s journey to this point is a testament to his deep roots in the Dallas arts scene. A native of the Pleasant Grove neighborhood, he’s a graduate of Booker T. Washington High School for the Performing and Visual Arts, a renowned Dallas institution often likened to the school from Glee. His plays – penny candy, Cake Ladies, and I AM DELIVERED’T – have all premiered at DTC, establishing him as a vital voice in the city’s theatrical landscape. This appointment marks a significant step in his career, placing him at the helm of a major regional theater.

A Playwright’s Perspective on Leadership

The transition at DTC wasn’t entirely unexpected. Moriarty’s move to executive director created a natural opening, and Norton, having already shared artistic responsibilities with Grossman and Moriarty, was a logical choice for the interim role. As Moriarty himself stated, Norton has been “one of the most impactful artists at DTC through much of the past decade,” and his work has garnered critical acclaim both locally and nationally. This isn’t simply about filling a position; it’s about maintaining artistic continuity during a period of change. Norton’s deep understanding of DTC’s artists, audiences, and the Dallas community makes him uniquely suited to navigate this transition.

What sets Norton apart, according to those who know him, is his ability to connect with people on a human level. He’s described as someone who gives his full attention to the person in front of him, offering a quick smile and a genuine warmth. This quality, combined with his artistic vision, is what makes him an effective leader. He’s not just a playwright; he’s a collaborator, a mentor, and a champion for the arts.

From Homemade Playbills to a National Stage

Norton’s passion for theater began early. He fondly recalls spending hours as a child creating his own playbills, meticulously detailing every aspect of imagined productions. This early fascination foreshadowed a career dedicated to storytelling. His work often explores themes of family, community, and identity, drawing inspiration from his own experiences growing up in Dallas. His play penny candy, for example, is set against the backdrop of 1980s Pleasant Grove and examines the impact of the crack cocaine epidemic on a Black community. Deep Vellum, a Dallas-based publisher, recognized the play’s significance and released it as their first play title in 2019, highlighting its importance as a distinctly Dallas story.

This commitment to place is a hallmark of Norton’s work. He’s drawn comparisons to August Wilson, the Pulitzer Prize-winning playwright known for his cycle of plays chronicling the African American experience in the 20th century. Like Wilson, Norton grounds his stories in specific communities and explores the complexities of human relationships with nuance and empathy. He’s not afraid to tackle difficult subjects, but he always does so with a sense of humanity and compassion.

Malcolm X and Redd Foxx: An Unlikely Friendship

Norton’s latest play, Malcolm X and Redd Foxx Washing Dishes at Jimmy’s Chicken Shack in Harlem, is a testament to his ability to find compelling stories in unexpected places. The play is based on a passage in Malcolm X’s autobiography detailing his friendship with John Elroy Sanford, who would later become the comedian Redd Foxx. The two men, both nicknamed “Red” for their red hair, worked together as dishwashers in Harlem in the 1940s. Norton was captivated by this unlikely pairing and saw an opportunity to explore their shared experiences and the formative years before they became cultural icons.

The play is a co-production among four American theaters: TheatreSquared in Arkansas, City Theatre Company in Pittsburgh, Virginia Stage Company in Norfolk, and Dallas Theater Center. This collaborative approach allows for shared resources and a wider reach for the production. TheatreSquared commissioned the play in 2023, recognizing Norton’s talent and potential. The premiere took place at TheatreSquared last October, and the play will now embark on a national tour, opening at DTC in May. This multi-theater run underscores the play’s significance and the growing recognition of Norton’s work.

The Human Element: A Search for Authenticity

Beyond the specifics of his plays and his new role at DTC, Norton’s approach to art is rooted in a deep curiosity about human behavior. He’s fascinated by moments of vulnerability and authenticity, as evidenced by his recent obsession with YouTube videos of students reacting to college acceptance or rejection letters. He finds these videos compelling because they offer a glimpse into the raw emotions of everyday life – the hopes, fears, and disappointments that we all experience. He sees a parallel between these moments and the work of a playwright, who must grapple with the complexities of human experience and create characters that resonate with audiences.

“Everyone wants something,” Norton observes. “Wanting something very badly kind of levels the playing field.” This sentiment reflects his belief in the universality of human desire and the power of storytelling to connect us to one another. He’s not interested in creating idealized characters or simplistic narratives; he wants to portray people in all their messy, contradictory glory.

Looking Ahead: Balancing Artistry and Administration

As Norton settles into his role as interim artistic director, he faces the challenge of balancing his artistic responsibilities with the administrative demands of running a theater. He acknowledges that it requires making countless decisions, navigating complex logistics, and considering the perspectives of many different stakeholders. However, he’s also confident that his experience as a playwright and his deep understanding of DTC will serve him well. His contract explicitly recognizes his priority as a playwright, ensuring that his creative work remains central to his identity. The board of directors plans to launch a national search for a permanent artistic director in the fall of 2025, but for now, Norton is focused on leading DTC through this transitional period and ensuring that its artistic vision remains strong.

The future of DTC, and the broader Dallas theater scene, looks bright with Norton at the helm. His commitment to storytelling, his deep connection to the community, and his unwavering belief in the power of art make him a truly exceptional leader.