In an era of relentless social upheaval and tech-driven disruption, American theater is grappling with its own existential reckoning. Traditional audiences are shrinking — according to a 2023 National Endowment for the Arts survey, only 32% of U.S. adults attended a live performance of any kind in the past year, down sharply from pre-pandemic figures. Meanwhile, streaming, VR, and AI-generated entertainment threaten to siphon away the next generation of would-be theatergoers before they ever set foot in a black box or a Broadway house. Yet amid the uncertainty, a quiet revolution is brewing: a new wave of artists determined to rebuild theater not as a gated institution, but as a radical, communal playground. Leading this vanguard is Mana Noda, a multimedia artist with a focus on live performance and production, including exhibitions and management. For Noda, her current artistic thrust as a theatrical actress and director promises to make theater feel both more expansive and more intimate — exactly when it’s needed most.
Indeed, by the time most young actors graduate, they’re still trying to figure out how to stand stage left without tripping. But Mana Noda is already plotting how to tear down the fourth wall entirely.
Fresh off her BFA from The New School — a resume peppered with meaty roles like Betty 2 in Collective Rage: A Play in 5 Betties and Emma in Fefu and Her Friends — Noda isn’t simply hunting for her next line reading. She’s aiming bigger: a directorial debut that promises to shake up America’s theater scene with a blend of old-school spectacle and fresh, immersive energy.
“I’ve been planning this for a while,” she says, her voice equal parts earnest and electric. “I really want to direct an immersive theatrical experience — something that invites more people into theater who might normally feel like it’s too ‘prestigious’ or intimidating.”
In other words: forget the velvet ropes, forget the whispered reverence. Noda wants you in the story, not just watching it.
Raised speaking fluent Japanese and trained with a rigor that included scene study with Chae Bennett and on-camera technique with Bhavesh Patel, Noda is already a master of shifting registers — from the classical demands of Shakespeare (where she trained under Susan Cameron) to the loose, confessional vibe of modern stage hits. Her fluency isn’t just linguistic. It’s emotional. And it's this chameleon-like ability that fuels her directorial ambitions.
“My family shaped a lot of how I see theater,” she explains. “They would come to my performances, and even when they didn’t understand every word, they’d say something like, ‘We loved the costumes,’ or ‘The actors seemed so lively.’ It taught me something crucial: storytelling isn’t about cleverness. It’s about making people feel something, no matter what language they speak.”
If that sounds refreshingly anti-precious — it is.
Noda’s artistic mantra borrows heavily from actor André De Shields' 2019 Tony acceptance speech:
1. Surround yourself with people whose eyes light up when they see you coming.
2. Slowly is the fastest way to get to where you want to be.
3. The top of one mountain is the bottom of the next, so keep climbing.
It’s a far cry from the ruthless, hustle-at-all-costs ethos many young New York artists get swallowed by. Instead, Noda’s pace feels deliberate. Humane. Relentless in all the right ways.
Already her live performances — like her turn as Natalie in Next to Normal — have shown a comfort with vulnerability that few actors dare attempt, let alone nail. Collective Rage especially became a pivotal moment. “There was something really reassuring about acknowledging the audience directly,” she says. “Instead of pretending they weren't there, I invited them in.”
That invitation — to be seen, to be part of it — feels like a core pillar of Noda’s next chapter. She wants her upcoming immersive piece (still hush-hush on specific details) to be a magnet for international artists, offbeat creators, and anyone who’s ever felt like traditional theater wasn’t “for them.”
She talks about recruiting a friend who had just moved apartments to work on set design. “I immediately said, ‘Hey, you should do theater!’” she laughs. “Because it’s about creating a space. It’s about imagination. There are no rules.”
And make no mistake — while her current base is New York, her eye is on a much bigger prize.
“My purpose is to tell stories beyond language barriers,” Noda says. “Good art is good art, no matter where it’s performed.”
In a cultural moment when theater often feels locked between overly commercialized Broadway hits and insular downtown experiments, Mana Noda might just be the unlikely bridge — pulling in new audiences, new collaborators, and new forms with that same magnetic mix of ambition and approachability.
As she climbs her next mountain, the U.S. theater scene would be wise to follow close behind.
