Mia Katigbak: The Actor-Manager Redefining Classical Theatre

Mia Katigbak, a veteran New York theatre actor and co-founder of the National Asian Theatre Company (NAATCO), has spent over three decades challenging industry norms through a rigorous, technical approach to performance. As an actor-manager, she has steered NAATCO from its 1989 inception as an all-Asian ensemble for classical works into a contemporary powerhouse that reshapes how audiences perceive canonical texts.

The Foundation of NAATCO

Katigbak co-founded NAATCO alongside actor Richard Eng in 1989, with the company staging its first production in 1991. The organization was built on a specific mission: to provide a platform for Asian American actors to perform classical repertory, a field where they were historically marginalized or excluded.

“I thought I should know what I’m talking about if I’m going to be an artistic director,” Katigbak noted regarding her decision to pursue a PhD at Columbia University during the company’s formative years. This commitment to academic and technical rigor became a hallmark of her leadership. By focusing on American and European classics, Katigbak and Eng sought to prove that the “classics” were not the exclusive domain of any single demographic.

The Evolution Into Contemporary Work

While NAATCO began by focusing on traditional classics, the company expanded its scope following a suggestion from actor Joel de la Fuente in 2000. The company began incorporating new works and adaptations, such as Michael Golamco’s Cowboy V. Samurai, which recontextualized Edmond Rostand’s Cyrano de Bergerac through an Asian American lens.

This transition allowed NAATCO to collaborate with prominent writing-development houses like New Dramatists and The Lark. By 2010, the company was producing contemporary plays like Jordan Harrison’s Futura. This shift facilitated Katigbak’s own growth as an actor, allowing her to secure roles in productions by companies such as New Georges and Clubbed Thumb—roles she noted she would not have been considered for earlier in her career.

Redefining the Actor-Manager Role

Katigbak currently serves as the company’s co-founder and actor-manager. She intentionally reclaimed the title of “actor-manager,” a term historically associated with figures like Henry Irving, Sarah Bernhardt, and Anton Chekhov.

“I’m really an actor, and I like being an actor, because I always say that I’m in the trenches with the other actors,” Katigbak explained. Susan Bernfield, artistic director of New Georges, praised this leadership style, noting that Katigbak’s ability to balance administrative management with on-stage performance offers a profound model for the industry.

Directing the Classical Canon

In 2024, NAATCO continued its commitment to the classics with a production of Henry VI, A Trilogy in Two Parts at the Public Theater, directed by Stephen Brown-Fried. The production, which condensed Shakespeare’s three-part history play into two parts, utilized a minimalist, high-contrast aesthetic.

The cast featured a mix of longtime NAATCO collaborators and new talent, including Myka Cue, who played Joan of Arc. According to Cue, working with Katigbak provides a unique environment where mentorship and professional rigor intersect. “Working with someone as pioneering as Mia has been such a gift,” Cue stated.

For Katigbak, the value of an all-Asian American cast in modern theatre lies in the clarity it brings to the text. By performing works as written, rather than relying on stylistic “layers” or cultural adaptations, the company aims to make the material accessible and intelligible to contemporary audiences.

Key Takeaways

• Founding Vision: NAATCO was established in 1989 to provide Asian American actors with opportunities to perform classical theatre.
• Artistic Shift: Since 2000, the company has expanded to include contemporary plays and creative retellings of established classics.
• Leadership Model: Mia Katigbak utilizes the title of “actor-manager,” emphasizing her role as an active participant in the creative process.
• Current Impact: The company continues to prioritize “doing the material as written,” focusing on high-level technical execution to provide fresh perspectives on canonical works.