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Alumnae Spotlight Archive

March 2022: Sonja Warfield '88

Sonja Warfield ’88 credits her Laurel education with instilling in her “a foundational belief that my opinion, ideas, and voice matter.” She draws on that confidence, a passion for writing inspired by Miss Hotchkiss, along with the art, history and literature that she learned at Laurel when co-executive producing the new HBO costume drama The Gilded Age. The series, created by Julian Fellowes of Downton Abbey, depicts the lives, triumphs and struggles of New York old-money families and a Black elite family in the 1880s. Hired to bring American authenticity to the show, Sonja is proud to help tell the story of the Black upper class, as opposed to the stories usually told from that time period in relation to slavery. Read on to learn more about her role models, her love for improv and how she got her start in the entertainment industry.

If you could describe your time at Laurel as the title of a movie, what would it be?
The Early Years
 
Were you involved in Chapel Theater, or did you do any creative writing when you were at Laurel?
Yes, to both. I found that my opportunities were limited for many of the musical theater productions because the casting was rarely non-traditional. Hamilton is groundbreaking for so many reasons, but also because it has people of color playing leading roles of historical white politicians and others. That kind of casting did not exist in the ’80s when I was a student. Laurel did something remarkable though. The school hired the director of The Cleveland School of the Arts to teach us improvisation. I took her class and performed in improv shows, which sent me on the trajectory towards writing. Improvisation is creating characters, a world, dramatic tension and humor. I was able to play any role in improv. I continued improv as a student at the University of Southern California and beyond. Improv is really writing. That foundation I received at Laurel started preparing me for my career today.
 
What were the biggest takeaways from your Laurel education?
My mom always said that education is something no one can take away from you. That really stuck with me and motivated me to learn and study, both at Laurel and in college. I still recall the French I learned, especially with Madame André at Laurel. I am a Francophile and that all started at Laurel. I recall getting moved up to the highest reading group in Lower School. I was proud of myself for that achievement. I made some sort of honor roll in either Middle School or Ninth Grade, and as our names were called we were asked to stand during Chapel. I received Most Improved tennis player during a Laurel tennis camp. Being honored, recognized and rewarded for my achievements imbued me with confidence. The experience of working hard, studying and improving gave me a fundamental belief in myself that I carry with me today. It’s that same confidence that enables me to take risks and try new things in life and my career.
 
Practically speaking one of my biggest takeaways from my Laurel education was learning how to write a term paper. Miss Hotchkiss was our Tenth Grade English teacher. She seemed formidable, but I learned the discipline of writing in that class. She was a true writer. While we were doing our term papers, she was doing her own writing. There was a feeling in her class that we were all in it together. I recall her discussing the process of writing with us, including procrastination. She believed we were all writers despite our skepticism. I emerged from that class with skills, confidence and a voice. She had a reverence for writing that rubbed off on me and remains in me today.  Her class was the first time I ever considered writing as part of my identity.
 
Who was your role model during your student days?
My role model was, and still is, my Aunt Cheryl. She is an accountant because her father (my grandfather) made her go to Ohio State and earn a practical degree, but she’s also an opera singer. When I was in Upper School at Laurel, she often stayed with us because she was a traveling auditor for the state of Ohio. When she wasn’t traveling in Ohio, she was performing in operas all over Europe. She eventually moved to New York, has performed on Broadway and was part of the chorus at The Met. I am still inspired by her artistry, ingenuity and perseverance.
 
After earning a BA in cinematic arts from the University of Southern California (USC), you dove into a career in the entertainment business. How did you get your start in the industry?
USC is great at helping students find jobs. Through USC connections I got one of my first jobs working on the 1994 Academy Awards.  A few months into the assistant job I was in a ball gown at the awards ceremony, working in the Deadline photo room backstage with the winners for that year, including Tom Hanks and Steven Spielberg. It was a thrilling start to my career. I went on to have less glamorous jobs, but it was quite a memorable beginning.
 
You’ve been involved in an incredibly diverse range of shows from the Emmy Award-winning sitcom Will & Grace and BET’s comedy The Game to Disney Channel’s Liv and Maddie and the animated series She-Ra. What’s your secret in being able to adjust your writing for such different shows?
For me writing is all about character, which supersedes genre. If I’m writing for fully developed and complex characters, I can write just about anything.  Drama and comedy emanate from character. Each character should have a distinct point of view. If you have great characters, the shows write themselves. Also, every show has its own voice and world. The job of the writer is to write in that voice and within that world. 
 
Congratulations on the recent premiere of The Gilded Age, the HBO costume drama series set in 1880s New York that you co-executive produce with Julian Fellowes of Downton Abbey! What is that collaboration like?
It’s an amazing collaboration, like nothing I’ve ever done. Most television shows have several writers. When I was on Will & Grace, I was one of twelve writers. On The Gilded Age, it’s just Julian Fellowes and me. We have a similar sensibility so that helps the process. We started working together during COVID-19, so we had to meet on Zoom. We discuss our ideas, then we write. We read each other’s material and re-write each other’s drafts, then Julian does a final pass on the script before we shoot it. Recently I was able to travel to the United Kingdom, where Julian lives, so that we could work together.
 
What research did you do to develop the stories of the Russells, van Rhijns and the clash between new money and old money in 1880s New York?
Julian Fellowes created the show, so he did a lot of research. I am a big Edith Wharton fan, so I am familiar with the world of old money in New York from her novels. I’ve also watched documentaries on The Vanderbilts, but this was prior to working on the show. In a way, I feel as if I’ve been unwittingly preparing for this job for a long time. The classical education at Laurel has helped me write for this series. There are references to art, history and literature that I learned at Laurel and use in my writing. When I was a teenager, I trained in opera. My aunt is also an opera singer. That knowledge has come in handy writing for The Gilded Age. I’m working with an amazing historian to craft stories. We also have fantastic researchers.
 
The Washington Post recently published an article entitled, “Because of Black women, the period drama ‘The Gilded Age’ has a Black story line done right.” What can you share about the character of Peggy Scott and making her voice authentic? What is the importance of diversity of writers’ rooms?
Peggy Scott’s character experiences microaggressions that I still experience today, which is a sad commentary on our society. What I love about the Scott family is that Black elite families existed in the 1880s, but they are hardly ever depicted in television or film. Black people’s stories during that time are usually told in relation to slavery, but there was a Black middle class too, and Julian Fellowes wanted that very American story in the show. I gave Peggy’s mother’s character, played by Audra Macdonald, some backstory and character traits of my own paternal great-grandmother.
 
Black people are not a monolith, therefore it’s important to have more than just one voice on a set or in a room. The same goes for any other marginalized group of people. Writing is about specificity, and if one has not lived and experienced a culture, it’s challenging to depict it in an authentic way. This is an American show created by a British man, so I was hired to bring that American authenticity to the work. I get to write for all of these amazing characters and so far, it's been the highlight of my career.
 
Any humorous or surprising stories from set?
We filmed the first season during COVID-19 and pre-vaccine, so we were all just happy to be working and were so careful about our masks and staying six feet apart. We had to eat lunch at desks that were spaced apart on a soundstage. I was just so happy to have a negative COVID test everyday so I could return to set. It was a strange time.
 
If you could have dinner with one figure from late 19th-century America, who would it be and why?
Claude Monet. I mentioned that I’m a Francophile. I recently visited Giverny again and I love how his paintings make me feel. The gardens are tranquil and splendid. I almost feel like I’m meditating when I study his paintings. I’d like to be able to spend time with him discussing his art and inspiration.
 
In addition to writing for television, you’re also the author of Get Your Butt Off My Couch, “a woman’s guide to getting rid of her deadbeat husband or boyfriend.” What were some similarities and what were some differences in writing for these two formats?
It took me a lot longer to write the book than it does to finish a script. I approached the book with the same passion and distinct point of view as I do when I create new shows.
 
As readers might surmise from the title of your book, you’re also a comedian! Having performed stand-up at The Comedy Store, The Laugh Factory and The Ice House, where do you find inspiration for your routines?
Life can be wild, tragic and ridiculous. Human behavior is fascinating to me. I can find humor in just about anything. I don’t take things that seriously or personally.
 
Before writing full-time, you were a Professor of the Practice of Cinematic Arts at the University of Southern California. What advice would you give to anyone interested in studying film? Any tips for breaking into the industry?
The industry is about relationships. My advice is to be kind to everyone.
 
In your downtime (do you have any?), what else are you passionate about? What’s next on your bucket list?
I’d like to live in Europe. I travel whenever I can. I’m passionate about art, travel and spending time at any beach.
 
What makes you proud to be a Laurel alum?
I’m so grateful for my education at Laurel. It prepared me for college and life. Laurel instilled in me a foundational belief that my opinion, ideas, and voice matter. I am unafraid to speak my truth in any situation. I am not intimidated by men who may attempt to talk over me or silence me in the workplace. A single-sex education is empowering.
 
I’m also incredibly proud of my life-long friendships with some of my Laurel classmates. We share an enduring sisterhood and I’m so grateful. Some of us had weekly Zoom meetings during the pandemic which was therapeutic and fun.
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