Sally Horowitz - interview
- Hannah Crouch
- Apr 9
- 6 min read
Thumbs Down Theatre are back with another collaboration with young creatives to bring Will You Love Me Tomorrow? to the stage this month. In our increasingly turbulent world, exploration of climate trauma is of rising importance, yet often a difficult discussion to be had. This bold piece queries the ethical responsibility of academic research, woven amid the song-driven script, performed by both adults and children to generate a unique and thought-provoking concept.
Sally Horowitz is the brains behind the original music featured, as well as the assistant director, therefore having a significant impact on the show's conception. She has kindly provided an array of comments to share extra insights into this rarity of theatre.
What piqued your interest in taking on this piece?
I’d worked quite a bit with theatre that tackled climate change in the past, and I think it’s one of the most important themes that theatre can address at the moment. Theatre, being a living and time-sensitive art form, is uniquely suited to exploring this topic. Will You Love Me Tomorrow? stood out to me because it looks at the climate crisis through a psychological lens. The play asks big questions: about ethics, about how far we should go in research to save the world, about whether the ends justify the means. In WYLMT?, the climate crisis can’t be separated from the inner turmoil of the mind - the two become metaphors for each other. I found that to be an incredibly interesting idea, and one that, in many ways, can only be properly explored through theatre. Throw on top of that an unbelievably talented intergenerational cast, and you have one extremely compelling project to sink your teeth into.
Why are the topics covered important for audiences to discuss?
Since starting this project, two major climate events have happened—the California wildfires and now the earthquake in Myanmar. And those are just the ones getting publicised. People all over the world are feeling the effects of the climate crisis, in both subtle and catastrophic ways. I still don’t think most people, myself included, have the language to properly talk about it. It’s too big, too scary.
What WYLMT? does, is take this enormous, terrifying thing and force us to examine our own reactions to it. Do we deny it? Do we become obsessed with it? Do we say 'carpe diem' and just keep living as we always have? The play holds up a mirror and asks us to see ourselves in the context of this global crisis, which is the first step towards meaningful conversation.
It also asks: how far are we willing to go to save humanity? And what will be lost in the process? The play explores a breakdown of family structures, which is deeply affecting, not just because of the skill of the actors, but because we see children - who are often seen as innocents - thrown into a world of liars and tormentors. It shatters the fabric of what we think of as 'normal society'. Do we have to break down society in order to save it?
How are you finding the preparation process for bringing this show to life, and what does a typical working day look like for you?
I’m assistant director and composer for the show. Dominic [Hedges] (the writer and director) wanted the songs to reflect the real attitudes of the young cast members towards the climate crisis, so I held writing workshops with them. After two days of workshopping, I came away with loads of great ideas, notes, and a loose vibe for each song, all shaped in collaboration with the kids.
A typical writing day for me involves spending a few hours playing around with melodies and tinkering with lyrics. I generally work on both at the same time to get a rough structure, then go back and refine the bits that don’t quite fit.
A lot of the acting and visual references for WYLMT? come from film, particularly David Lynch and Michael Haneke, so we spend time studying their work for inspiration. In the rehearsal room, my role is usually to take notes on any changes, and act as a facilitator and middle ground between the actors and the director.
What inspired you to pursue a career as a composer/director?
I’ve always had very strong tastes in music and theatre. I want something quite specific, and when you have that kind of vision, the only way to be truly satisfied is to make your own work. I haven’t yet fully realised my ideal, but it’s always there, dangling in front of me—this manifestation of how I think theatre and music should be.
I also just love working with people. Being a director or musician allows you to collaborate with so many different artists - actors, musicians, stage managers, tech crews. It’s the most fun job there is.
How do you deal with creative blocks, and what challenges do you face when writing music?
I’m not sure I believe in creative blocks. There are definitely times when the work isn’t flowing, but I think the most important thing is to just keep working. I’m really against the idea of waiting for inspiration to strike. You have to put in the work every day. If it’s bad, it’s bad. If it’s good, great. But it doesn’t matter, because as long as you do it consistently, something will eventually take shape.
That said, if I’m feeling particularly stuck in a rut, engaging with great art helps. I’ll listen to music, go to a show, visit a museum.
The hardest part of making music, and really any art, is judging your own work for what it is rather than what you think it is. When I write a song, I often hear the fully produced version in my head, which makes it difficult to recognize what’s actually on the page. Or sometimes I get so much enjoyment out of the act of creation that I don’t see how much more work it still needs. The same goes for writing, acting, directing - it’s hard to be objective about your own work. You have to step back, but that’s almost the opposite of the act of creation, which requires total immersion. It’s a constant balancing act.
What extra considerations must you have when creating content in collaboration with children and young people?
There are the obvious ones - avoiding explicit language, for example - but it’s really about striking a balance between fostering a creative and supportive environment while still maintaining artistic excellence. You don’t want to be too rigid - this isn’t school - but you also don’t want things to become too loose. It’s about finding that middle ground between giving up creative control and still holding onto a strong vision.
How do you ensure your music evokes the right emotions to match the action on stage?
When I write music for my band, Weaver Line, I work with my partner Ben, and we have a lot of conversations about the style and emotional tone of each song. Certain rhythms, melodic structures, and songwriting techniques are designed to evoke specific emotions - the same way a lullaby soothes a baby. As a musician, you have this whole history of genres and structures to draw from to guide the audience’s emotional experience.
For theatre, the music also needs to fit with the production’s aesthetic. WYLMT? has a 60s, nostalgic theme, so I wanted the songs to reflect that. They sound almost like songs you’ve heard before but can’t quite place, which (without giving too much away) mirrors The Researcher's experience in the play.
How do you measure the success of a composition?
If it gets the job done. If it presents a complete idea, has a clear structure, makes an impact, and a listener can tell you what it’s about after just one listen. It should feel like a little world unto itself.
If you could collaborate with any musician, past or present, who would it be?
I'd love to sing a duet with Jessica Rabbit.
Huge thanks to Sally for partaking in this interview - it has been wonderfully insightful to hear about your work in more detail. Best of luck for the run and beyond!
@weaverlinemusic
Will You Love Me Tomorrow?
Omnibus Theatre, London. 17th-19th April 2025
Additional thanks to Matthew Parker for coordinating this interview.
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