Natasha Sinha (she/her) is a producer and dramaturg, focusing on new plays and new musical work. Since 2021, Natasha has been Associate Artistic Director at Playwrights Horizons, working on all season productions (including Michael R. Jackson & Anna K. Jacobs' TEETH, Alex Tatarsky's SAD BOYS IN HARPY LAND, STEREOPHONIC by David Adjmi, WET BRAIN by John J. Caswell, Jr, CATCH AS CATCH CAN by Mia Chung, Sanaz Toossi's WISH YOU WERE HERE, and Dave Harris' TAMBO AND BONES), and overseeing the literary department and artistic programs (including New Works Lab and Almanac). Previously, she was Director of Artistic Programs at Signature Theatre (Dave Malloy's OCTET, FIRES IN THE MIRROR by Anna Deavere Smith, Lauren Yee's CAMBODIAN ROCK BAND, and spearheading new initiatives), Associate Director at LCT3/Lincoln Center Theater (DISGRACED by Ayad Akhtar, Rude Mechs' STOP HITTING YOURSELF, Dave Malloy's PRELUDES, WAR by Branden Jacobs-Jenkins, GHOST LIGHT by Third Rail Projects, Martyna Majok's queens, Antoinette Nwandu’s PASS OVER, and special events such as SHABASH!), and Associate Producer at Barrington Stage Company. As a freelancer (for both commercial and nonprofit projects), she has also dramaturged new works by Dave Harris, Michael R. Jackson, Jenny Koons, Grace McLean, Danny Pudi, Heather Raffo, Sam Salmond, Stephen Schwartz, and Kit Yan & Melissa Li. Natasha is a co-founder of Beehive Dramaturgy Studio (which works with individual generative artists as well as organizations such as Page 73) and a founding member of Musical Theatre Factory (where she co-moderated MTF's POC Roundtable, exclusively for musical artists of color, and advised on programming). She is on the board of Rhinebeck Writers Retreat, and she has served as a judge on award committees throughout the theatre industry. Natasha is the recipient of the 2019 LPTW Lucille Lortel Award.

SPECIALTIES
New Plays, New Musicals, New Devised Work, New Solo Work, Unconventional Storytelling, Plays With Music, Character Development, Social Justice

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

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

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

RECOMMENDED BY
”Natasha's dramaturgy was PIVOTAL in the development of my play TAMBO & BONES. Her brilliant mind, sharp ear, and calming warmth were essential in helping push the play to become its best version. What I love most about working with Natasha is that she never settles, always choosing to ask the next question about the world and internal logic of the play and its relationship with the audience. In a play that spans four hundred years, a non-existent 4th wall, and an entire concert, Natasha's tireless note-taking and ability to diagnose what is being accomplished by each beat in a play are invaluable. Beyond that, I cannot imagine having a better friend, accomplice, and advocate in any rehearsal room. I feel so lucky that Natasha, with her relentless rigor and deep caring, believes in my work. Give her all of the money and opportunities. Your play, your theater, your post-rehearsal happy hours, will all be better for it.”
— Dave Harris, playwright

"I cannot say enough great things about Natasha's dramaturg work. I've had two projects where I've had opportunities to work with her--first on my musical Teeth and then on my musical A Strange Loop. In both cases I found her to be extremely incisive and quick to align and engage with the right questions to address dramaturgical issues in each piece. In Teeth, Natasha has been thorough, thoughtful and smart as my collaborator and I work through a tricky narrative and tonal combination, helping us focus our thoughts and move collectively in a positive direction to complete our latest draft. In A Strange Loop I've been struggling with how to illustrate my protagonist's journey in an extremely non-conventional way and Natasha's insights helped me identify narrative and character gaps that would help me clarify for the audience the exact story I want to tell. I've also worked with Jeremy Stoller on this piece and his dramaturgical precision and open-mindedness was key to my process as I headed to Ucross via the Sundance Theatre Institute to work through a crucial draft. I feel quite fortunate to work with both of these artists; the relationships I've forged with them has been invaluable."
—Michael R. Jackson, Composer-Lyricist-Bookwriter

"Natasha is a force of insight and wisdom. I met Natasha for the first time in the rehearsal room, and in the most epic of plays – my new play about migration and the global economy. Navigating in personal and seismic ways, Natasha was able to pose questions leading to the distillation of the work without making the play smaller – but rather, by sharing an equal ambition to see the work grow even bigger. She held and returned to the spine of the piece again and again, working like an anchor and a sail simultaneously. I’ve never worked on a play this epic, sprawling, or with this many concurrent narratives - she knew how to hold the center so I could continue to explore the extremes. Her intelligence, her life experience, her perspective and her care are a gift to the art of making of theater."
—Heather Raffo, writer/performer

“I met Natasha a few years ago during SHABASH!, an evening of South Asian theatre at LCT3. I could tell right away she had a passion for lifting up underrepresented voices and a gift for empowering the people around her. During that event, Natasha encouraged me to share a story I was working on about my relationship with my father. Since then, we have worked together on expanding that story into a full theatrical piece. Throughout the process, she’s been an excellent collaborator. I can always count on her to provide an honest, intelligent critique. With each new draft she has asked thoughtful questions to help me sharpen logic, and she finds a way to give me the confidence to dig deeper into my story. I trust her creative eye and besides that, she’s just a great friend. I look forward to the next time we can have a margarita and chat about our favorite Sondheim songs and/or how memories work!"
—Danny Pudi, playwright/performer

"I've been working on a pop opera about 12th century mystic and polymath Hildegard von Bingen for a few years, but it wasn't until I shared the work with Natasha that I started to understand how to put my material together in a comprehensive manner. Her questions, insights, and keen dramaturgical eye have helped me to shape a story out of my raw material, and her skills as a deep listener have in turn helped me to become sensitive to an audience's reception and response to the manner in which the story is told. I look forward to sharing my progress with Natasha because I trust her knowledge, experience and theatrical guts."
—Grace McLean, Writer/Composer/Performer

"I have always relied upon feedback from writer friends. Working with Natasha as a dramaturg was a new and wonderful world, First, there was the relief of not worrying that the feedback was going to be impacted by any concern for protecting my feelings. So no looking for the meaning behind the note. Natasha’s questionswere smart and empathic. When I shared what I was trying to do she would tell me directly if she got it or not. Her thoughts moved my rewrite forward more efficiently. She also directed me towards elements in my work that I wasn’t aware of. This allowed me to remove or enhance what was already on the page. It was a great experience. I will be working with her in all my future projects."
—Tonya Pinkins, Tony Award winning actress, author, director, filmmaker

"Natasha’s skills as a dramaturg have been intensely beneficial for the new musical, Eighty-Sixed. Her ability to hone in on particular questions of character development helped push the authors to be much more specific, which really strengthened the arc for the protagonist. Her questions are never prescriptive or defensive – they are inquisitive, warm, and encouraging."
—Aaron Glick, Creative Producer

"Working with a dramaturg for the first time was like having a super-smart friend in the room who would ask all the right questions. When you've been writing a piece for so long it's easy to lose perspective, so the fresh eyes of a dramaturg was invaluable in tracking big picture stuff, like character arcs and theme. Natasha listened to us, what we were trying to do with our piece, and helped us get closer to our goal. I'd do it again in a heartbeat."
—Ben Bonnema, Composer-Lyricist

"While I technically knew what a dramaturg was in theory before actually working with one, the term might as well have been synonymous with 'wizard.' Turns out I wasn't that far off. Working with Natasha was such an enlightening, stabilizing experience, especially in the middle of a hectic workshop process, where it's easy to get caught up in the small stuff and lose track of narrative priorities. I always looked forward to debriefing with Natasha and hearing her feedback; these sessions gave me much-needed perspective and helped clarify my writing goals before rehearsal the next day."
—Christopher Staskel, Librettist