Hari Bhaskar has been making waves in New York City’s performing arts scene this spring. With each new role, Hari’s quietly building a reputation as someone to watch – both on stage and screen.
Back in February and March, Hari Bhaskar took on Shakespeare in the Frog & Peach Theatre Company’s production of “The Taming of the Shrew”, directed by Lynnea Benson. The show, which wrapped up its run at The Cullum Theatre just six weeks ago, wasn’t your typical stuffy Shakespeare. Bhaskar joined a cast that breathed fresh life into the centuries-old text, with costumes by Asa Benally that pushed boundaries and Geneva Jenkins’ choreography adding contemporary flair. The production managed that tricky balance – honoring the original work while acknowledging its complicated gender politics for today’s audiences.
If you missed him there, perhaps you caught Hari’s performance in “Just a Yellow Cab in New York City” at the Chain Theatre Winter One-Act Festival. This intimate comedy, directed by Emmy winner Cady McClain, became something of a sleeper hit during its three-night February run. Hari Bhaskar starred alongside playwright Youlim Nam in this slice-of-life piece about a chance encounter between a woman approaching 30 and a taxi driver on a late-night ride. Nothing earth-shattering happens – no explosions or dramatic revelations – just the kind of authentic human connection that feels increasingly rare in our disconnected world.
“There’s something about those fleeting connections that can sometimes be more meaningful than relationships we maintain for years,” Hari mentioned during a post-show talkback. That insightful observation seems to reflect his approach to character work – finding depth in seemingly simple moments.
While theater remains Bhaskar’s first love, he’s also appearing in “The Monster”, a horror film helmed by “Saw” director Darren Lynn Bousman. The film has wrapped production in Connecticut and is now in post-production, having already generated industry buzz after being acquired by Paramount’s Republic Pictures for worldwide distribution.
The film’s plot – following two apartment scammers who cross the wrong property owner – puts Hari in the company of some impressive talent, including Lauren LaVera (fresh off her “Terrifier” success), Djimon Hounsou (recently seen in “A Quiet Place: Day One”), and Alicia Witt (riding high after “Longlegs”). For an actor still establishing himself, it’s quite the ensemble to join.
Hari Bhaskar’s journey to New York stages and screens hasn’t followed the typical path. Born in Kerala, India in 1999, he spent his childhood between Dubai and India before making the bold decision to move to New York in 2021 to study at the Stella Adler Studio of Acting. He graduated from their Evening Conservatory program the following year and has been steadily building credits since. Those interested in keeping up with Bhaskar’s artistic evolution can connect with him on Instagram, where he shares occasional updates about upcoming projects.
“I’m one of the few South Asians who’ve actually immigrated specifically to pursue acting,” Hari notes with a hint of pride. That unique perspective informs his work, giving him a cultural fluency that serves him well in New York’s diverse creative community.
Between his growing theater résumé and his upcoming appearances, Hari Bhaskar seems to be methodically checking boxes toward his declared goal of becoming “one of the top South Asian actors in the world” within the next few years.
Is it ambitious? Absolutely. But watching Hari’s thoughtful progression from stage to screen, you get the sense that he isn’t just dreaming – he’s planning. And in an industry where overnight success typically takes a decade, Bhaskar’s patient, deliberate approach to building a career across multiple performance mediums might just be the smartest strategy.
