(she/her/hers)
Narda’s pedagogy originates from the intersection of stage management theory with stage management practice, and she is committed to teaching how theory can influence a stage manager’s approach and be a potent tool in the process. As a professional stage manager working internationally, regionally, and on Broadway, Narda is committed to anti-racist stage management practices that promote equity, inclusion, and compassion. She has a strong interest in new work and originated four of August Wilson’s plays, having had a decade-long collaboration with him and also managing two revivals of his Century Cycle.
Other significant collaborations include stage managing Goddess, at Berkeley Repertory Theatre, a new musical directed by Saheem Ali, Merry Wives for The Public's Shakespeare in the Park, adapted by Jocelyn Bio, Tarell Alvin McCraney’s Broadway production of Choir Boy, the 2019 Broadway revival of The Iceman Cometh starring Denzel Washington, an eleven-year affiliation as stage manager for The Lion King, and two Broadway revivals of A Raisin in the Sun. Narda has stage-managed projects at notable institutions like Lincoln Center Theater, Manhattan Theatre Club, The Public Theater, La Jolla Playhouse, American Conservatory Theater, Center Theatre Group, Huntington Theatre Company, Goodman Theatre, Alley Theatre, Lookingglass Theatre Company, and Chicago Symphony Orchestration. She has traveled to Europe with George Lewis’ Afterword, an opera, and with Richard Foreman for his original production of Paradise Hotel (Hotel Fuck). In Russia at the Gorky Moscow Art Theatre, she managed Lee Breuer’s musical, The Gospel at Colonus.
Narda has been an associate professor and head of stage management for NYU Tisch School of the Arts, The Theatre School at DePaul University, and the design/technology program within the Conservatory of Theatre Arts at SUNY Purchase. She received DePaul’s Excellence in Teaching Award in 2015. With co-author Lisa Porter, Narda has written the book, Stage Management Theory as a Guide to Practice: Cultivating a Creative Approach, and the essay, We Commit to Anti-Racist Stage Management Education for HowlRound Theatre Commons.