Today we’d like to introduce you to Natascia Diaz.
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
From the musical stage to Shakespeare plays, Natascia has performed professionally since the age of nine. Growing up in New York City, she began her training at The School Of American Ballet, and went on to receive a BFA with Honors from Carnegie Mellon University.
After dancing the role of Anita with the New York City Ballet for their ‘West Side Story Suites’ helmed by Jerome Robbins, she was hand picked by both Mr. Robbins and librettist Aurthur Laurents to perform the role in the subsequent National and International touring production of WEST SIDE STORY. What was called her “breakout performance” as Anita garnered two Best Actress in A Musical Awards; Chicago’s Joseph Jefferson Award and St. Louis’s Kevin Klein Award, and critical acclaim across the country and internationally with headline reviews; “Diaz Shines In Soaring ‘Story'” (Denver Post), “Show-Stealer Keeps Things Fresh in old ‘Story’ (Boston Tab), and ”Anita Makes A Star Out Of Diaz” (Boston Globe). The Los Angeles Times said, “you have to watch the electric Diaz, a worthy successor to Chita Rivera, to sense the truly dazzling intensity of what Robbins created in her fiery performance.”
Among her Broadway credits are the original Broadway companies and cast albums of Paul Simon’s The Capeman (Yolanda), and Seussical (Bird Girl), and the 2004 revival of MAN OF LA MANCHA (Antonia), in which she also understudied the role of Aldonza, performing the role opposite musical theatre giant, Brian Stokes Mitchell. Off-Broadway, she played opposite Patrick Wilson in the original production of BRIGHT LIGHTS, BIG CITY (Vicky) directed by Micheal Greif (Dear Evan Hansen), in the world premiere of Steven Sondheim’s first musical SATURDAY NIGHT at Second Stage directed by Kathleen Marshall (Anything Goes), in Johnathan Larson’s TICK,TICK…BOOM! (Susan) opposite New Kid On The Block Joey McIntyre, the 2006 revival of JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS and Lynn Nottage’s play, BY THE WAY, MEET VERA STARK. Most recently she last starred on Broadway in the latest revival of CABARET as Fraulein Kost.
At the Kennedy Center, she caught the eye of Signature Theatre’s Matthew Gardiner in the 2002 Sondheim Celebration as Petra in A LITTLE NIGHT MUSIC, and then as Rosalie in CARNIVAL. Gardiner often quotes his favorite review by Trey Graham of the City Paper; “Natascia Diaz, on the other hand, is the very embodiment of Broadway brass as Rosalie, the magician’s assistant and mistress. She’s the real thing, and when she’s on, the stage comes reliably to life—and one of those times, she’s locked in a box with swords stuck through her, so I’m just sayin’.” With Gardiner’s advice, Eric Schaeffer cast me, without an audition, in the lead role of Aurora/Spiderwoman opposite SMASH star Will Chase and Broadway’s Hunter Foster in his production of KISS OF THE SPIDERWOMAN. At the 2009 Helen Hayes Awards for her critically-acclaimed transformation into Scottish punk-rocker Monica P. Miller in the two-hander musical Rooms at Metro Stage, she cemented her presence in the D.C. theater scene by winning her first Helen Hayes Award for Best Actress in A Musical in a tie with theatre legend, Chita Rivera.
Later that year, she was introduced to an even larger audience through her impactful presence in the Broadway documentary film, Every Little Step.
Called back to New York in August 2010, Paul Simon and Tony Award winning director Diane Paulus chose her for the central role of Esmeralda Agron in the New York Public Theatre’s concert production of THE CAPEMAN at the Delacorte Theater in Central park. She captured the attention of The New York Times giving a performance that was, “heartbreaking…one of the most magnetic musical theatre performances of the year”, in addition to receiving an uncharacteristic rave from Michael Riedel of the NY POST;
“The cast was indeed exceptional, the standout being Natascia Diaz as Agron’s long-suffering mother. Diaz is a remarkable performer, as anyone who saw her in the fine documentary “Every Little Step,” about the casting of “A Chorus Line,” can attest. As I was leaving the park, I heard a critic singing her praises, adding: “Why don’t we see more of her?” Hear, hear!”
Returning to DC, she took home her second Helen Hayes Award for Lead Actress in a Musical for her performance in JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS. Doug Rule of MetroWeekly called her, “one of DC theatre’s greatest performers”, while DCTheatre Scene writing:
“…the uncanny excellence of Natascia Diaz…Her head is so deeply into the Brel experience that even in English translation, she expresses the very essence of Jacques Brel’s Paris in mood, delivery, attitude, morality, and emotion. Brel’s tunes and lyrics can be playful. But more often they’re loaded with sorrow, poignancy, bitterness, and regret. Diaz deeply understands it all from simple joy to overwhelming misery. While she’s adept at expressing any mood or nuance, her interpretative skills are at their most powerful, perhaps, in a song like “Ne me quitte pas” (“Don’t leave me”), a tragic ballad inspired by a romantic break-up. Sung in French, her heartbreaking performance really needs no translation…Diaz returns to sing “Old Folks” in English, in exquisite, almost minute detail…Only a cold heart, indeed, could fail to shed a few tears at the conclusion of Diaz’ wrenching yet understated interpretation.”
Natascia was thrilled to have spent the greater part of 2013 in the company of two accomplished English directors, Christopher Renshaw and Johnathan Munby first starring in ZORRO at The Alliance Theatre opposite Adam ….. then she was cast by Munby as Mariana in MEASURE FOR MEASURE at The Shakespeare Theatre. Of her performance, Peter Marks of The Washington Post wrote, “the emotional transaction that feels most completely inhabited is the one between Mariana, a secondary character suffused here with extraordinary presence and feeling by Natascia Diaz, and Scott Parkinson’s Angelo…” In subsequent roles in DC, her performance as Jenny in Signature Theatre’s production of THE THREEPENNY OPERA captured the headline from Peter Marks’s review in The Washington Post: “At Signature, ‘Threepenny Opera’s heart beats strongest with Natascia Diaz’s Jenny on stage”. In concert, Ms Diaz has been featured in group concerts and solo shows at numerous venues from Strathmore to 54 Below.
She continues to go back and forth from NY to DC having just performed in GRAND HOTEL (Rafaella) at NYC Encores, and in 2019, in the most difficult and demanding role of her career, she took home her third Helen Hayes Award for BEST ACTRESS IN A MUSICAL for her “obsessively watchable and gorgeously sung” (Washington Post) in a “career-defining performance” (BroadwayWorld) as Fosca in Sondheim’s sumptuous PASSION. She is represented by LohneGraham Management.
On A Personal Note:
Throughout my career, I have been passionate about sharing my approach to the work and imparting the secret to longevity in this business. For actors and performers of all ages, I purposely foster inclusion and respect for each student whatever their age or experience, and I join them wherever they are in process with guidance, not judgement. There is a big difference; one inhibits, and one invites bravery. Both in Masterclasses and private coaching, I aim to invite transforming fear and insecurities into the excitement of discovery, and with each piece, keeping performers, at whatever point they are in the journey, in a place of curiosity, bravery and expansion. Most importantly, I strive to give tools to help keep them in that place through any and all challenges we all face in this work, and in the life of a performer.
I truly can’t wait to walk any and all new students through unlocking thier journey in revealing power, precision and expansion in what I believe to be sacred work. There is nothing more rewarding.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
Show business is brutal. I have known the depth of betrayal by employers and collaborators, and the joy and thrill of complete fulfillment and unspeakable generosity from every sector of the business and fans who have supported me throughout.
As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
I support performers at any stage of their journey because no matter how challenging the life of a performer can get, I truly love this process….and helping others in theirs.
Finding a coach you can trust is hard. It’s a vulnerable space to let someone into, and the vibe has to be right. Other than when I’m onstage, the only other moment when time disappears, is when I coach. If you’ve ever studied with me, you know. I’ve been invited to give masterclasses through theatres, independent arts programs for all ages, and coached professional friends as requests have come in. Between the touching testimonials from my students and my passion for this work, it is clearly time to open up the invitation.
Me? I’m probably most known from the Broadway documentary EVERY LITTLE STEP, and I’ve collected some awards along the way in a career spanning Broadway to regional theatre to TV, musicals to new works to classical plays and Shakespeare. You can learn about me, watch videos, see pictures of performances and read reviews at www.NatasciaDiaz.com
What sets me apart I believe from other professionals who do this is that when we work it’s not about me, the wisdom I’ve gained or my skills; it’s about helping others find the way to finding their own power. Both in group settings for Masterclasses and privately, I am passionate about imparting and sharing my approach to this work, and have worked closely with performers from as young as 8 years old to in their 70’s. I consciously and purposefully foster and enlist participation, inclusion, respect for and interest in each student’s process, whatever their age, experience or whatever level they are at, and I join them wherever they are in their process with guidance, not judgement. There is a big difference; one inhibits, and one invites bravery. I aim to invite transforming fears, blockages and insecurities into a learning adventure of uncovering and discovering your own power with each piece keeping performers, at whatever point in their journey, in a place of curiosity, bravery and expansion…which results in work that makes your auditions and performances linger in people’s minds and capture people’s hearts long after you’ve left the room. I strive to give you tools to help keep you in that place wherever you are in your evolution in this work, and if you ever falter, we can meet again as many times as you need to tackle your challenges together. We all are always in process.
Most importantly, and paramount to me, whether you are preparing for an audition, or looking to keep working on your craft in these crazy times, we will find our way to experiencing that magic and transportation in yourself as the performer, and how you provide magic and transportation for your audience, no matter where you are.
Is there something surprising that you feel even people who know you might not know about?
People think that becasue of the awards and headline reviews I’ve had that they will come to a lecture. That’s what usually happens with other professionals who do this; they make the time about them, their stories, their career. All they do is talk about themselves. I am the opposite. I only answer questions about my path if they are asked, otherwise, I say “how can I help YOU, what are YOUR goals.” It’s not about me, It’s about us getting you to where you want to go. A girl came to me having been in NY for a couple years, and just wasn’t getting the Broadway or production contracts she dreamed of getting. First one that came along, we worked and now she’s on her first national tour. The way I work WORKS.
Pricing:
- First session, 75$/hr
- All subsequent sessions, 100-150$/hr
- Masterclasses upon request
- College student pricing avail upon request
Contact Info:
- Website: https://www.natasciadiaz.com/
- Instagram: https://www.instagram.com/ladydiaz777/
- Soundcloud: https://soundcloud.com/ladydiaz
- Other: https://msha.ke/coachwithnatascia/
