In sports terms, Eileen Morris is the epitome of a player’s coach. That’s a leader so in tune with their “players” that they can be both demanding and understanding at the same time, and get the maximum effort from them.
Morris, the longtime artistic director for Houston’s Ensemble Theater, isn’t leading a hoop squad to the Final Four. Rather, she’s overseeing and directing groundbreaking, award-winning, show-stopping plays at one of the nation’s premier homes of Black artistic production.
Morris, who is currently jamming Bruno Mars’ latest release on her playlist, has so much love for all things H-Town, especially the weather, that you just might mistake her for a native Houstonian. But Morris is from Chicago, and she is a Northern Illinois University theater graduate who set her sights on Houston for a very specific reason.
“I really wanted to have an opportunity where theater was on the ground floor, and I could also really work with an institution that was taking theater from the ground up,” said Morris, whose parents were born in Houston. “And the Ensemble Theater was one of those.
Journey
Upon her arrival in Houston in 1981, Morris met George Hawkins, who founded the Ensemble in 1976. And as they say, the rest is history.
“I started working and volunteering with the founder, Mr. George Hawkins, in 1982,” recalled Morris. “I started out as a volunteer first and then as his managing director.”
Morris was on hand in 1985 to experience the Ensemble’s move from its original location at 1010 Tuam to its current location, 3535 Main Street, in the heart of Midtown.
“Unfortunately, Mr. Hawkins made his transition in 1990, and then I became the artistic director at that time,” shared Morris, who has also served as the Ensemble’s youth and education coordinator.
“The journey is a great blessing. It’s been wonderful to be able to have the opportunity to work with such great artists like George Hawkins, our founder, Ntozake Shange, Houston-born playwrights such as Celeste Bedford-Walker and Thomas Meloncon.”
Eileen Morris
“The journey is a great blessing. It’s been wonderful to be able to have the opportunity to work with such great artists like George Hawkins, our founder, Ntozake Shange, Houston-born playwrights such as Celeste Bedford-Walker and Thomas Meloncon.
“And then just the great artists that we have that come through, not only who live here in the city of Houston, but who come from all over to work here.”
More considers her journey a blessing and an opportunity to present works that tell human stories, relatable to all, through the lens of the African-Americans.
Artistic director duties
Morris describes the many facets of her role as artistic director in one word: cheerleader.
“You have to do a little bit of everything. My primary job is to ensure that anything that deals with the art happens to the best excellence possible,” said Morris.
She also selects plays to present to the Ensemble board for approval to produce for the public. Morris also works with set designers, conducts auditions, nurtures relationships with local and national playwrights, meets with funders (grant writers and individual donors), establishes institutional collaborations, and communicates the Ensemble’s messaging and programming to the general public.
Additionally, Morris works with staff who conduct the Ensemble’s Young Performers Program, the institution’s youth training program.
Director of plays
And as much as the joy Morris derives from her work is evident, her energy rises to another level when the subject turns to the work she does directing plays herself.
“Oh, gosh, that’s the best thing. I love it so much,” she exuded. “When you’re directing a play, you get to take the story, read it, and then figure out how you see it coming to life.”
Morris, who recently directed the Ensemble’s production of The Bluest Eye, describes the process of working with playwrights, actors, designers, hair and makeup artists, and others in a language Houston residents can understand
“I always say directing is like gumbo,” stated Morris, about the “shopping,” prepping, cooking, and simmering that has to happen to make a play the audience is eager to eat up.
“As a director, my job is to kind of put these pieces together, make this really good pot of gumbo where it tastes good, and everybody’s ready to eat it when it’s ready to go,” she added.
Love for Houston’s arts scene
And according to Morris, Houston is the perfect place for Black artists and those who love their work.
“There’s so much art here in Houston. I think a lot of times people don’t realize how much art is here,” said Morris, who shared that Midtown alone is home to over 150 art organizations and individual artists.
Morris believes that because Houston is so spread out, some individuals may not be willing to make the treks required to experience the city’s art offerings. But for those who do, Morris contends, they’re in for a treat.
“There’s great art here, and Houston’s artistic skill set and the talent is absolutely fabulous,” she added.
Upcoming productions, favorites
Morris is extremely excited about the Ensemble play Choir Boy, running now until April 12.
“We’ve been wanting to bring this Tony Award-winning play to the city of Houston for years. So, we’re really grateful,” shared Morris.
She’s equally excited about her opportunity to display her directorial talents at the Alley Theater this spring as she directs the August Wilson classic Fences (April 17 – May 10).
“Most times when you’re directing a play, that’s your favorite because you’re in it and you’re in that energy of it. You feel the vibe from all over, and you feel great about it. But I would say for me, my favorite plays are anything that’s August Wilson,” said Morris, who has directed nine of the Pulitzer Prize-winning playwright Wilson’s 10-play cycle.
Morris also has a lot of love for Pearl Cleage and Lorainne Hansberry. The favorite play Morris acted in was Hansberry’s classic A Raisin in the Sun. Yes, Morris acts too.
Besides Wilson’s works, Morris’s favorite play she directed was Cleage’s The Nacirema Society because of its relatable stories that address women’s issues, while showcasing the strength of the Black woman.
Importance of the arts
Morris is an avid fan of Black art because, from her vantage point, it spotlights Black people’s ability to “see the joy” no matter what’s going on.
“That’s the beauty of what art does for us, I believe. You’re able to escape for just a moment, what’s going on in your world that you are dealing with things at your job or at home or aging parents or the world the way it is today,” shared Morris. “And yet you’re connecting your moments of life to what you’re seeing on stage, and you’re reflecting on that.
“To me, that’s the beauty of what art does. It gives us opportunities to have kindred spirit moments.
And whether directing or overseeing such moments, Morris will continue cooking up artistic gumbo for audiences to enjoy.
