Drama Queens, a five-star arts journal focusing on female artists

Interview by Jen Bush

Natalie Ahn genuinely hates talking about herself. She stated with no false modesty whatsoever.  Her work ethic speaks for itself though.  “I hope to approach my work with sincerity, integrity, honesty and all amounts of empathy I can exude.”

Kenneth Lonergan’s Tony Awards-winning play, LOBBY HERO is revived as part of City Gate Production’s 2022 season starting April 29 – May 8 at The Moose Lodge Theatre, 7215 Grand Avenue, Maspeth, Queens. Tickets: HERE 

When Jeff, a luckless young security guard, is drawn into a local murder investigation, loyalties are strained to the breaking point. As Jeff’s tightly wound supervisor is called to bear witness against his troubled brother, and an attractive rookie cop finds she must stand up to her seasoned partner, truth becomes elusive and justice proves costly.

I sat down with Natalie Ahn to find out about how she approaches her craft and the current project that she’s in.

What drew you to this project? 

I had previously worked with members of City Gate Productions on a virtual performance of Lucas Hnath’s The Christians, during the height of the Covid pandemic. I loved the process which Thom led, particularly with character work and knew that he’d be great to work with on such a dialogue-based show as Lobby Hero. I’ve always been a fan of Kenneth Lonergan’s works and knew I’d love the chance to be part of this project. Lonergan’s ability to convey deep subject matter in such an honest way, and using his comedic edge, is extremely satisfying for an artist to engage.  

What is your creative process? 

I love rehearsals. I love spending time breaking down each scene, forming a backstory, and really creating the world of the story we are trying to tell. I love the process of discovery-not to say that can’t happen in performances, but I’ve found that investing heavily in the work ahead of time can be an opportunity for greater discovery once the performances begin. 

What’s so good about off-off Broadway/indie theater? 

It’s not ironic that a majority of my cherished experiences as an actor have been in the off-off Broadway/independent circles. Let’s be honest, the money isn’t why we’re there (hahaha), but it frees us from potentially forsaking quality for profit. What keeps us there if money is not a factor? It’s the love for the craft. The love for the work. The heart and the community. 

It’s obvious the world is steadily reopening. What do you feel is different now than before pandemic? Another thought: what should be different now than before pandemic? 

It’s definitely been a revealing time for our society. We’ve learned, at least I hope we’ve learned, things about ourselves that we may not feel comfortable with or may not know how to move forward at this time. I hope we’ve all learned to be more compassionate with each other and with ourselves. 

What’s next for you? 

Theatre and the process of theatre-making has been a powerful tool in my life; it has provided me opportunities to engage with others whom I don’t inherently identify with. I hope to keep doing just that.