Meena Natarajan is a playwright and director and the Executive and Artistic Director of Pangea World Theater, a progressive, international ensemble space that creates at the intersection of art, equity and social justice. She has led the theater’s growth since its founding in 1995. Meena has co-curated and designed many of Pangea World Theater’s professional and community based programs. She has written at least ten full-length works for Pangea, ranging from adaptations of poetry and mythology to original works dealing with war, spirituality, personal and collective memory.  Meena leads ensemble-based processes in Pangea that lead to works produced for the stage. She has also directed and dramaturged several original theater and performance art pieces. She is currently on the board of the Consortium of Asian American Theaters and Artists and is a National Theater Project Advisor at New England Foundation for the Arts.  She was on the Advisory Committee of the Community Arts Network, was on the founding board of the Network of Ensemble Theaters and was the president of Women’s Playwrights International between 2000-2003. She has been awarded grants from the Theatre Communications Group, Playwrights Center and the Minnesota State Arts Board. She was recently awarded the Visionary Award for mid-career leaders from the Minnesota Council of Nonprofits.

Suzanne Victoria Cross was born and raised in North Minneapolis, graduated from St. Cloud State University with a BA in Theater and Community Psychology. Suzanne is a local actor, stage manager and teaching artist in the Minneapolis and St. Paul area. She has worked with many local theater companies including touring with CLIMB Theatre as an Actor-Educator, Penumbra Theatre Company’s Education and Outreach Program, Lyric Arts Academy, Teatro del Pueblo, In the Heart of the Beast Puppet and Mask Theatre and has been the lead instructor for multiple teaching artist residencies in the Twin Cities. She also identifies as the primary caregiver for her mother who is currently navigating the progression of Alzheimer's over the last 9 years. Her methodology is centered in honoring and actively engaging with our elders and that stage management is a social justice and community organizing artistic practice. Suzanne has a strong passion for the role theater can play in the development of an individual and a community as a whole and that we are never done creating magic. She is currently the Production Manager for Pangea World Theater.

Ellen began working with Pangea after many years of engaging with Pangea as an artist.  Her work is about ancestors, spirit, politics, contradictions, humor, confronting white supremacy and always about healing.  She lives in Minneapolis, two blocks from the Mississippi with her husband and their amazing daughter.  "Pangea is an important home for artists.  I felt both respected and engaged from the moment I first encounter Dipankar, Meena and Pangea. I have held several events in Pangea's studio including my solo show- Death's Daughter and the Twin Cities Premiere of my film  Thought Woman- The Life and Times of Paula Gunn Allen. As well as working directly with them as part of The Bridges Program.  Pangea puts artists at the center!"
 
Her artist website is www.fierceshimmer.art

Born in Beirut to Palestinian parents, Ismail Khalidi is a playwright, screenwriter and director. Khalidi’s own plays include Truth Serum Blues (Pangea World Theater 2005), Tennis in Nablus (Alliance Theatre 2010), Foot (Teatro Amal 2016), Sabra Falling (Pangea 2017), and Dead Are My People (Noor Theatre 2018). He also co-adapted two novels for the stage with Naomi Wallace; Ghassan Kanafani’s Returning to Haifa (Finborough Theatre 2018; Pangea 2023) and Sinan Antoon’s The Corpse Washer (Actors Theatre of Louisville 2019). Khalidi's directorial debut was the Chilean premiere of Foot, which was produced in Valparaiso and then Santiago in 2016-17. He co-edited Inside/Outside: Six Plays from Palestine and the Diaspora (TCG 2015) and his plays have been published in numerous anthologies, including the upcoming collection, Until I Return: The Selected Works of Ismail Khalidi (Bloomsbury, 2025). His writing has been featured in American Theatre Magazine, The Kenyon Review, The Nation, Mizna, Guernica, Al-Jazeera, The Dramatist and ReMezcla. Khalidi was the 2023 Artist-in Residence at Boston University’s Center on Forced Displacement and is a Directing Fellow at Pangea World Theater. He holds an MFA from NYU’s Tisch School of the Arts.

Jennifer Cortez is an enrolled member of the Leech Lake Band of Ojibwe tribe and Mexican. She has been in theater for 8 years and is now the youth theater assistant at Indigenous People Task Force, as well as an intern with Pangea world theater. Jennifer also creates indigenous beadwork and fashion!

Noelle Awada (she/her) is an intern with Pangea World Theater. She studied theater arts with a minor in Spanish at Hamline University, later obtaining an MBA from the same. Noelle studied abroad in Cienfuegos, Cuba for a short while in her undergraduate program. She has worked in administration with Penumbra Theatre, the Guthrie Theater, as well as the Minnesota Historical Society. Her main interest is in stage management, which she pursued while in college and shortly after graduation. Born and raised in St. Paul, Minnesota, Noelle is proud and honored to be part of an organization that does such important and meaningful work, so close to home.

Dipankar Mukherjee is a professional director originally from Calcutta, India with a 25-year history of directing. He is the Artistic Director of Pangea World Theater and received the 2023 McKnight Distinguished Artist Award.

He co-founded Pangea World Theater, an international theater in Minneapolis that is a progressive space for arts and dialogue. His aesthetics have evolved through his commitment to social justice, equity and deep spirituality and these factors along with relevant politics form the basis of his work. As a director, he has worked in India, England, Canada and the United States.  
 
Dipankar has received the Humphrey Institute Fellowship to Salzburg and has been a Ford Foundation delegate to India and Lebanon. He is a recent recipient of the Bush Leadership Fellowship award to study non-violence and peace methodologies in India and South Africa. Dipankar was invited to visit the White House as part of the Asian American and Pacific Islanders Delegation. In his rehearsal and workshop practices, Dipankar’s facilitated processes that work to disrupt colonial, racist and patriarchal modalities that we have inherited and collaboratively searches for an alternate way of working.

Sarah Tan is elated to be back at Pangea World Theater as the Education Lead. Sarah is an artist educator and organizer that has worked in Arkansas, Arizona, Minnesota, and Singapore where she grew up. As an artist educator with a deep passion for building spaces of inclusivity, Sarah believes in engaging in work that builds on the strengths and stories of participants in the room, meeting each person in their full selves, and growing with them. Her past research and interests include digital creations with young people, the performance of identity, and the intersection between the performing arts and trauma. Sarah holds a BA in Theatre Arts with a concentration in Education Studies from Carleton College, and an MFA in Theatre for Youth and Community from Arizona State University.

Sarah N. Duncan is a mixed-media artist and graphic designer. Believing that representation matters, her mixed-media works use gesture, craft, mark-making, and objects to view herself and the world through different lenses to investigate why and how this world and imagine what is possible. She is queer, white, artist, dancer, writer, parent, friend, and old enough to know that her work is serious play and that the way she move in, with, and through this world is as important as what emerges from her efforts. She joined Pangea’s circle as an intern in the spring semester of 2020 as part of HECUA’s Art for Social Change program and is happy to continue to be part of the connected, grounded, and process-focused way of working that is Pangea.

Sir Curtis Kirby III, Bois Forte Band of Ojibwe and African American descent is enjoying his 7th year directing the Ikidowin Youth Theater Ensemble. He has been selected as Emerging Artist for a TPT Minnesota Originals. Kirby is mentored by Dipankar Mukherjee, Artistic Director of Pangea World Theater and has participated in the Next Generation Theater Director's Institute for the past three years. This year, he has been awarded a 2 year Fellowship with Pangea World Theater for Directing. Kirby is the Assistant Director for Five Weeks, Sabra Falling and Mother Courage and Her Children. He recently directed a one-act play in New York City, 2020 Reflections of Native Voices as an emerging director.

Janet Sanchez is a twenty-three-year-old indigenous artist, a part of the Leech Lake Tribe Band of Ojibwe. Janet first performed with Pangea Theater in 2013, performing Wait - A Teen Pregnancy Story and Most recently performed in We Will Do It For The Water as an Ally and Protestor. Janet first got involved in theater 10 years ago to work on her confidence and speaking. And to share the knowledge and history of Native people. Working with Indigenous Peoples Task Force’s Ikidowin Youth Theater Ensemble. Since then, she has performed on over 20 different stages. Janet loves working with youth in her community. In her free time, she enjoys being with family, going on hikes and creating art.

Queenie Wynter is currently finishing her senior year at St. Olaf College as a Sociology/Anthropology and Theater major with concentrations in Race and Ethnic Studies and Gender and Sexuality Studies. Her experiences house and stage managing has led to a love for the more organizational aspects of art production as well as curating Uprising, an annual exhibition showcasing the art of Black community members on the St. Olaf campus for the past three years. Born and raised in Kingston, Jamaica, Queenie is able to pursue her education in the US thanks to the Davis UWC Scholars Program.

Adlyn Carreras was born and raised in San Juan, Puerto Rico. She came to St. Paul, Minnesota on scholarship to study at Macalester College, where she majored in Latin American Studies with a core concentration in Latin American Literature and a Minor in Biology. After traveling and living in Hawaii, Washington D.C., and Puerto Rico, Adlyn returned to Minnesota and began acting in the Twin Cities. She has performed at The Jungle Theater, Park Square Theater, Pangea World Theater, Mixed Blood, Penumbra Theater, and Teatro del Pueblo. She has also been in various commercials and Industrial films. Adlyn is General Manager & Ensemble Member at Pangea World Theater and an Adjunct Professor at Augsburg University. She was a past Teaching Artist for the Neighborhood Bridges program at Children’s Theater Company and Monologue Artists for Penumbra Theater’s Race Workshop. Adlyn is currently working on her first one-woman performance, If My Bones Could Speak, commissioned by the Alternate Visions program at Pangea World Theater.

Bethany has loved Pangea’s work since first seeing Conference of the Birds in 1995, and is honored to be joining this incredibly talented, creative, thoughtful, and revolutionary team. She has spent her entire lifetime in Twin Cities theaters and arts organizations, starting with the Cricket Theatre back in the 1980s and then working at Theatre de la Jeune Lune, the Jungle, and Nautilus Music-Theater. For the past two-plus decades she has run her own arts and non-profit management consulting firm, working with a number of organizations (ranging from circuses to labor unions, think tanks to theaters) in nonprofit management, as well as in evaluation, strategic planning, and access — all skillsets that come to play in her work with the Pangea team.

Seamus Wakefield is a 2022 UMN graduate with a degree in Global Studies, with a regional focus on Europe and thematical focused on Human Rights and Justice. Was it his original choice? No. Did he have any idea what he was getting into? Also no, but so far it’s been one of the best choices he’s made so far. Besides getting a cat, of course. In his mind, Seamus grew up without giving much thought about his career; But he knew that, given the choice, he wanted to help people share their stories with the collective, because those stories are better than any fairytale. Realistically, he figured he’d end up working for some company that would overwork him to the point of resentment for minimum wage, as was the image painted by the 2008 recession. So working at Pangea World Theater, with all of these brilliant minds of this century, to help others share their stories? It’s practically a dream come true. Not only does he get to dedicate himself, every day, to making the world a better place for all to live in, but he still has time to make wonderful memories with his fellow ensemble members, family, and friends. That, to him, is more precious than any gem or metal. When he’s not living the dream with the ensemble, he’s most likely making truffles and chocolates at his other job, or trying to win the affections of his new foster dog (who prefers the company of his father). While he may not know what is ahead of him, for once in his life he can walk proudly into that future knowing that there are good people out there. And where there are good people, like those here at Pangea, there is always hope for a good future.

Nathan Berglund is working as a production assistant for Pangea World Theater but has also acted as member of the Ikidowin Acting Ensemble for the past 8 years. He was born and raised in the Twin Cities and is Oglala Lakota and Northern Cheyenne.

Isabel Koch is studying Theater in Education in Germany. For the last five years, she has worked with different theaters there. She is interested in how to make art, especially theater, accessible for everyone. It is important for Isabel to listen to stories and experience art from other perspectives than those of white Europeans. She hopes to find out more about Pangea’s amazing work and the variety of communities in the Twin Cities during her internship.