Sharon directed her first play in 2003 as part of Ottawa’s Youth Infringement Festival. Since then, she’s directed more than 20 pieces and assisted the director on half a dozen more, working primarily in Newfoundland and Labrador with companies such as Best Kind Productions, New Curtain Theatre Company, Grand Bank Regional Theatre, Power Productions, Stephenville Theatre Festival, and Girl Power Inc. In 2018 she was able to return to her roots in Ottawa to direct for Bear & Company. Since 2017, she has been working regularly with Artistic Fraud of Newfoundland as director of transVersing, co-director of City of Stories, and assistant/touring director of Between Breaths and their upcoming project, I Forgive You.
As a director, Sharon is most interested in the relationships between the characters on stage, and between the characters and their subject matter. She specializes in working with emerging actors to build confidence and to strengthen skills in preparation for a successful performance, and is dedicated to creating an environment that encourages exploration and experimentation.
“This review would not be complete without mentioning the brilliance of Sharon King-Campbell. As a director, Sharon knows the ins and outs of every script, and knows exactly how to craft, mold, and build to create this beautiful story in such a natural way. Sharon’s directing in this show definitely shows in the work onstage, as every piece of this puzzle fits together perfectly.”—Stephanie Curran, The Racket, for The Stars Are Always Brighter When The Lights Go Out
“…the conception and enactment of this compelling and imaginative piece is full of light and shadow, emotion and conflict. The experience is vivid and intense, with nowhere to hide for actors or audiences. Play, performance and production certainly grabbed and held this member of the opening-night audience.”—Gordon Jones, The Telegram, for Ismene
“Staging in the LSPU Hall is stark and minimalist. A circular, white canvas represents the icefloe on which the last-surviving member of the doomed sealing party, Joseph Jacobs, is stranded. With nothing but a gaff-pole and a sealskin by his side, he proffers and relives wry anecdotes. The elements and motifs of the good-old, bad-old days are familiar and long-standing. But they are feelingly revisited.”—Gordon Jones, The Telegram, for Adrift
“The fragmented phases and minutiae of a relationship are presented prismatically… and by the end, you have reflections from the whole crystal. A smart and bouncy and very amusing script is expertly executed at close quarters… you will certainly want to see this clever and entertaining hour-long piece. Space is limited and word will spread fast. So you may need to get there early to secure admission.”—Gordon Jones, The Telegram
“A must see… pretty powerful stuff.”—Wendy Rose, The Telegram, for The Good Body