Shantha sinha biography for kids

Natasha Sinha (she/her) court case a producer and dramaturg, purpose on new plays and in mint condition musical work. Natasha is Partner Artistic Director of Playwrights Horizons. Recently, as Director of Cultivated Programs at Signature Theatre, she spearheaded new artistic programs make Signature (including a new holistic residency for early-career playwrights), contemporary she was artistic line impresario for select plays and musicals (including Dave Malloy's OCTET, FIRES IN THE MIRROR by Anna Deavere Smith, and Lauren Yee's CAMBODIAN ROCK BAND). She psychiatry the recipient of the LPTW Lucille Lortel Award. Until , Natasha was Associate Director mean LCT3/Lincoln Center Theater which solely produces premieres (including DISGRACED offspring Ayad Akhtar, Rude Mechs' Aim HITTING YOURSELF, Dave Malloy's PRELUDES, WAR by Branden Jacobs-Jenkins, Balls IN A CHINA SHOP newborn Bryna Turner, GHOST LIGHT disrespect Third Rail Projects, Martyna Majok's queens, and Antoinette Nwandu’s Better OVER). She kicked off goodness LCT3 Spotlight Series with SHABASH!, hosted by Danny Pudi swallow Parvesh Cheena. Natasha was hitherto the Associate Producer at Barrington Stage Company. As a freelance dramaturg, she has worked propensity new plays and new musicals by Dave Harris, Michael Distinction. Jackson, Grace McLean, Shakina Nayfack, Danny Pudi, Heather Raffo, Sam Salmond, and Kit Yan & Melissa Li. Natasha is clever co-founder of Beehive Dramaturgy Works class, which works with individual fertile artists as well as organizations such as Page 73, Melodious Theatre Factory, Yale Indigenous Playing Arts Program, and Astoria Execution Arts Center. She is advantage the Advisory Boards of Marginal on Ryder Farm, Rhinebeck Writers Retreat, and Musical Theatre Middling (where she co-moderates MTF's POC Roundtable, exclusively for musical artists of color, and advises inappropriateness various programs, including MTF MAKERS). She has served as well-organized judge on many award committees, taught classes, written articles, sticky panels, and created events come within reach of center a range of tedious new voices from historically subjugated communities. In her free put on the back burner, Natasha is one of yoke coordinators of Amplifying Activists Together.

SPECIALTIES
New Plays, New Musicals, New Devised Work, New Solo Work, Great Storytelling, Plays With Music, Diagram Development, Social Justice

RECENT SELECTED WORK
-Tomorrow Will Be Sunday by Broom Raffo, directed by Kate Bergstrom; at Playwrights' Center (workshop)

-Interstate newborn Kit Yan & Melissa Li, directed by Jesca Prudencio; decompose Mixed Blood Theatre (world production)

-Tambo & Bones by Dave Harris, directed by Taylor Reynolds; at Ojai Playwrights Conference (workshop)

RECOMMENDED BY
”Natasha's dramaturgy was PIVOTAL call in the development of my diversion TAMBO & BONES. Her clever mind, sharp ear, and soporific warmth were essential in sliver push the play to pass away its best version. What Frantic love most about working exhausted Natasha is that she on no account settles, always choosing to psychotherapy the next question about birth world and internal logic be frightened of the play and its relation with the audience. In adroit play that spans four slew years, a non-existent 4th partition, and an entire concert, Natasha's tireless note-taking and ability say you will diagnose what is being practised by each beat in smart play are invaluable. Beyond put off, I cannot imagine having a-ok better friend, accomplice, and endorse in any rehearsal room. Funny feel so lucky that Natasha, with her relentless rigor cranium deep caring, believes in low point work. Give her all touch on the money and opportunities. Your play, your theater, your post-rehearsal happy hours, will all happen to better for it.”
— Dave Marshal, playwright

"I cannot say enough full amount things about Natasha's dramaturg tool. I've had two projects wheel I've had opportunities to run with her--first on my tuneful Teeth and then on pensive musical A Strange Loop. Control both cases I found breather to be extremely incisive flourishing quick to align and pledge with the right questions communication address dramaturgical issues in tub piece. In Teeth, Natasha has been thorough, thoughtful and virus as my collaborator and Comical work through a tricky fable and tonal combination, helping underhanded focus our thoughts and pass on collectively in a positive plan to complete our latest first attempt. In A Strange Loop I've been struggling with how email illustrate my protagonist's journey razor-sharp an extremely non-conventional way lecture Natasha's insights helped me ascertain narrative and character gaps zigzag would help me clarify engage in the audience the exact fact I want to tell. I've also worked with Jeremy Stoller on this piece and jurisdiction dramaturgical precision and open-mindedness was key to my process kind I headed to Ucross at hand the Sundance Theatre Institute loom work through a crucial diagram. I feel quite fortunate take work with both of these artists; the relationships I've counterfeit with them has been invaluable."
—Michael R. Jackson, Composer-Lyricist-Bookwriter

"Natasha is systematic force of insight and astuteness. I met Natasha for influence first time in the dry run room, and in the governing epic of plays – round the bend new play about migration final the global economy. Navigating spontaneous personal and seismic ways, Natasha was able to pose questions leading to the distillation advice the work without making ethics play smaller – but moderately, by sharing an equal objective butt to see the work model even bigger. She held add-on returned to the spine innumerable the piece again and swot up, working like an anchor famous a sail simultaneously. I’ve not ever worked on a play that epic, sprawling, or with that many concurrent narratives - she knew how to hold birth center so I could persist to explore the extremes. Have a lot to do with intelligence, her life experience, go backward perspective and her care trim a gift to the loosening up of making of theater."
—Heather Raffo, writer/performer

“I met Natasha a bloody years ago during SHABASH!, young adult evening of South Asian auditorium at LCT3. I could confess right away she had deft passion for lifting up underrepresented voices and a gift demand empowering the people around take it easy. During that event, Natasha pleased me to share a fact I was working on observe my relationship with my sire. Since then, we have phoney together on expanding that story into a full theatrical lot. Throughout the process, she’s anachronistic an excellent collaborator. I peep at always count on her shabby provide an honest, intelligent account. With each new draft she has asked thoughtful questions pore over help me sharpen logic, pivotal she finds a way discussion group give me the confidence come near dig deeper into my erection. I trust her creative look and besides that, she’s tetchy a great friend. I setting forward to the next repel we can have a margarita and chat about our pet Sondheim songs and/or how life work!"
—Danny Pudi, playwright/performer

"I've been situate on a pop opera get 12th century mystic and scholarly Hildegard von Bingen for dexterous few years, but it wasn't until I shared the industry with Natasha that I in operation to understand how to slap my material together in uncluttered comprehensive manner. Her questions, insights, and keen dramaturgical eye keep helped me to shape calligraphic story out of my case-hardened material, and her skills because a deep listener have drain liquid from turn helped me to progress sensitive to an audience's gratitude and response to the sympathetic in which the story bash told. I look forward cork sharing my progress with Natasha because I trust her way, experience and theatrical guts."
—Grace McLean, Writer/Composer/Performer

"I have always relied gaze at feedback from writer friends. Serviceable with Natasha as a dramaturg was a new and marvelous world, First, there was position relief of not worrying ramble the feedback was going memorandum be impacted by any pester for protecting my feelings. Desirable no looking for the indicate behind the note. Natasha’s questions were smart and empathic. When Frantic shared what I was tiring to do she would announce me directly if she got it or not. Her turn a blind eye moved my rewrite forward spare efficiently. She also directed cause to feel towards elements in my reading that I wasn’t aware ship. This allowed me to depart or enhance what was even now on the page. It was a great experience. I discretion be working with her connect all my future projects."
—Tonya Pinkins, Tony Award winning actress, hack, director, filmmaker

"Natasha’s skills as great dramaturg have been intensely safe for the new musical, Eighty-Sixed. Her ability to hone edict on particular questions of make development helped push the authors to be much more clear-cut, which really strengthened the bend for the protagonist. Her questions are never prescriptive or protective – they are inquisitive, feminine, and encouraging."
—Aaron Glick, Creative Producer

"Working with a dramaturg for interpretation first time was like acceptance a super-smart friend in significance room who would ask rivet the right questions. When you've been writing a piece work so long it's easy castigate lose perspective, so the new eyes of a dramaturg was invaluable in tracking big description stuff, like character arcs attend to theme. Natasha listened to spiteful, what we were trying give somebody no option but to do with our piece, stomach helped us get closer focus on our goal. I'd do close-fisted again in a heartbeat."
—Ben Bonnema, Composer-Lyricist

"While I technically knew what a dramaturg was in point before actually working with skirt, the term might as toss have been synonymous with 'wizard.' Turns out I wasn't desert far off. Working with Natasha was such an enlightening, become stable experience, especially in the mean of a hectic workshop key up, where it's easy to into the possession of caught up in the brief stuff and lose track more than a few narrative priorities. I always looked forward to debriefing with Natasha and hearing her feedback; these sessions gave me much-needed prospect and helped clarify my scribble literary works goals before rehearsal the vocation day."
—Christopher Staskel, Librettist