Sarah Jones is a Tony® and Obie Award-winning playwright and performer. She is perhaps best known to theater audiences for her multi-character, one-person show Bridge & Tunnel, which was originally produced by Oscar-winner Meryl Streep and became a critically acclaimed hit on Broadway. Sarah is also known to many for her popular "TEDtalks" given at the world renown annual TED conference, which have more than 2 million views, and she was recently invited to The World Economic Forum Annual Meeting in Davos, Switzerland where she was honored to be the first artist to perform on a stage normally reserved for Presidents and captains of industry. She has also been honored to speak at The White House multiple times and has hosted the annual Clinton Global Citizen Awards. Sarah is currently completing her new one-woman show, Sell/Buy/Date, which tackles issues of human trafficking and the sex trade, and is a commission for the NoVo Foundation.

Called “a master of the genre” by The New York Times and described by The New Yorker as a “multicultural mynah bird who lays our nation before us with gorgeous, pitch-perfect impersonations of the rarely heard or dramatized”, Sarah and her work are known for their humanitarian approach to character and story through the lens of multiculturalism, both in the US and globally.



In this performance, Sarah Jones brings you to the front row of a classroom in the future, as a teacher plugs in different personas from the year 2016 to show their varied perspectives on sex work and other taboo topics. As she changes props, Jones embodies an elderly homemaker, a "sex work studies" major, an escort, a millennial feminist, and even a police officer. The characters may come from the future, but the content still deals with humanity at the forefront of any problem, despite the technological advances. This popular talk's focus may be on a taboo topic, but the characters and content are completely customizable based on the audience and engagement.

Jones, who is ... a sort of multicultural mynah bird, lays our mongrel nation before us with gorgeous, pitch-perfect impersonations of the rarely heard or dramatized.
— New Yorker