Lauren Eliot Photography

Sarah Shin (she/her/hers) is a Schwenksville-raised, Boston-trained, Brooklyn-based Queer Korean American theatre artist. After years of studying classical piano, Sarah got addicted to being in musicals probably because it was the closest thing to being a KPOP star without leaving the country. In high school, she hit her first dry spell of no offers and found her way into directing and self-producing her art. Fast forward to now, Sarah is a performer/director/dramaturg/producer/musician/creator/arts leader dedicated to finding, gathering, and uplifting community. 

Sarah recently directed Wolf Play (Brandeis University), Camp Mannuppia (National Queer Theater), The NY Premiere of Lavina Jadhwani’s The Sitayana (or “How to Make An Exit”) (The Tank), The Chinese Lady (Central Square Theater/CHUANG STAGE, Boston Globe’s Top 10 Shows of 2022, 5 Elliot Norton Award Nominations), The Cradle Will Rock (Concord Academy), MANUKA (Youngblood @ Ensemble Studio Theatre), FINAL CONTACT (Central Square Theater), A Very Herrera Holiday (New Repertory Theatre), & The First Pineapple and Other Folktales by Micah Rosegrant (Central Square Theater @ Starlight Square). She also took part in other projects such as THE GIFT PROJECT by Diana Oh (All For One Theater/Zanni Productions), The Wanderers by Anna Ziegler (Roundabout Theatre Company), Endlings by Celine Song, Twelfth Night (Catskill Mountain Shakespeare), Much Ado About Nothing (Shakespeare & Co.), Amputees by Quentin Nguyen-Duy, and My H8 Letter 2 the Gr8 American Theatre by Diana Oh. She’s worked on innovative new works with groups all over the country, such as The Song Collective, Clubbed Thumb, American Repertory Theater, Huntington Theatre Co., Front Porch Arts Collective, Company One Theatre, Nora Theatre Company, Musical Theatre Factory, MCC Theater, National Women’s Theatre Festival, Sparkhaven Theatre, Artists at Play, Pao Arts Center, and Asian American Playwrights Collective, and was one of the two SDC Observers on Broadway’s Sweeney Todd: The Demon Barber of Fleet Street, directed by Thomas Kail.

She co-founded Asian American Theatre Artists of Boston (AATAB) to empower and connect Asian American student and working artists in Boston, and more recently co-founded Queer Asian Babes, a social collective that centers intersectional community building for Queer and Trans Asian, Native Hawaiian, and Pacific Islander American artists. She is currently a Roundabout Directors Group Cohort 4 Member, a member of National Queer Theatre’s Artistic Collective, an Artistic Associate of Sanguine Theatre Company, and a 2020-2021 Asian American Arts Alliance Artist-in-Virtual-Residence, where she developed her solo work exploring Asian identity and Whiteness in musical theatre. She’s passionate about more diverse representation, community and family, music, and gifting love in all ways possible. BFA Theatre Arts Boston University.

Her grandfather started the first Korean American newspaper in Philadelphia when he first immigrated to the U.S. in the 1970s, and her father owns a Japanese and Korean restaurant – almost 20 years running. Sarah hopes to continue the legacy of being a badass Korean American and loving food.

Theme: Overlay by Kaira