Photo by Sasha Arutyunova


"The singer and songwriter Shaina Taub belongs to a breed of performers who, apart from being artists, are gravitational forces around whom others cluster like filings to a magnet.... Much of her material belongs to the Broadway-oriented pop-gospel tradition associated with Carole King and Laura Nyro. Like them, she borrows from gospel to express a viewpoint that is at once secular and spiritual." - New York Times, Lincoln Center American Songbook concert review: Shaina Taub, Prolific Earth Mother, And Friends

 "Shaina Taub's infectious music is a playful blend of Billy Joel's piano-driven pop, Aretha's soul and Regina Spektor's whimsy. Taub's imaginative lyricism is all her own though. She has creativity in spades" - NPR/WNYC: The Year's Best Gig Alerts

"Ms. Taub’s songs are a continual delight, with their slangy, funny lyrics. She provides a lovely solo for Viola, in which she muses on how differently she is treated when dressed as a man, a pointed comment on contemporary culture that, miraculously, doesn’t feel shoehorned into the proceedings. (“Why has this power in me never been given a chance?” she laments. “Is it as simple as putting on a pair of pants?”) - The New York Times: 'Twelfth Night' review

"Taub’s terrifically theatrical songs are as fun as any I’ve recently heard in the park and better integrated into the story." - The Vulture, Review: Public Works' Diverse, Delicious Twelfth Night

"Though Taub's rousing score focuses on jazz, R&B and funk, it cleverly diverts into barrelhouse and vaudeville, displaying sharp rhymes and fun imagery throughout. While the previous three Public Works productions have all been marvelous, TWELFTH NIGHT, mostly on the strength of Taub's exceptional score, is the first to show real potential as a Broadway production... It seems that The Public Theater's knack for developing quality musicals, rooted in HAIR and A CHORUS LINE and more recently represented by FUN HOME and HAMILTON, has struck again." - Broadway World, Review: Shaina Taub's Score Highlights Public Works Colorful and Lively Twelfth Night 

"The person holding all this together and hoisting it so joyously aloft seems to be Shaina Taub. It's her portrayal of the narrating jester Feste and especially her composition of the brassy, bubbling songs that keep everything floating so deliriously that really makes this crazy-quilt of a pageant work. The sound is a swirling, thumping blend of jazz, pop, and Taub's own distinctive voice (which was also on scintillating display in the revival of Old Hats at Signature earlier this year) that believably ushers in the conflicting plot lines and gives the ensemble of dozens reasons to kick up their feet in celebration... Taub keeps the hits coming... It never stops, and it never stops getting better, right up until the stage-busting, dancing-in-the-aisles finale; it's the kind of magic trick you used to hear about happening in the Park, but that rarely does these days... Whether she's simply playing her keyboard or flitting throughout the action as a sinewy spirit of mischief, Taub just sort of stands alone as the embodiment of what all this is and should be. Whether as Feste or the mute musical director, she's at once amusing and edgy, presiding over the evening with a wry sense of ironic abandon that couldn't be more at home in these proceedings." - Talkin' Broadway: Twelfth Night review

"Productions of Shakespeare frequently adapt the lyrics of songs within the play with a more contemporary vibe. Usually, its very, very, very annoying. Not so with Shaina Taub’s Twelfth Night at the Public Theater. It liberally adapts Shakespeare’s words and ideas into a jazz-pop musical that fully stands on its own, graceful and affecting in the way the best Shakespeare is. Taub herself graced the production as Feste, but I cannot recommend highly enough the recording which features Taub primarily, singing a New Orleans variation on “If Music Be the Food of Love, Play On,” the Jackson 5-esque finale “Eyes of Another,” and the stirring power ballad “Is This Not Love,” backed simply but effectively by piano and keyboard. In a day and age where more and more theaters appear to be adapting shakespeare for the sake of adapting it, Twelfth Night made a strong case for the continuing relevancy of Shakespeare in the Park as a place for New Yorkers to see, not just revivals, but cutting edge interpretations of Shakespeare’s work." - Paste Magazine: The Best New Musicals of 2016

"Irwin & Shiner have a special weapon in the person of Shaina Taub - sly and funny, sort of a young Judy Garland meets grown-up Lisa Simpson." - San Francisco Gate: 'Old Hats' review

"Taub's songs are sincere, thought-provoking, and brimming with optimism, all the while being appropriately self-aware and very honest. The lyrics are center stage in her work, and her writing is witty and insightful. The music mixes perfectly with the on-stage comedy and the whole show becomes a reminder to not take life too seriously." The Easy: 'Old Hats' review

"The message of her lyrics is responsive to current themes resulting in an upbeat, uplifting effect, which seizes the content of the piece that follows and causes an effortless flow. Her songs produce an intelligent perspective that support the material and Ms. Taub’s entertaining delivery is a joy to hear and experience." - OnStage: 'Old Hats' review

"A quote in my press materials describe Taub as "a young Judy Garland meets grown-up Lisa Simpson." True. I would also toss in that She's plain gutsy. She does a crackling fine job at collaborating with Irwin and Shiner, punctuating their wordless sketches with her own witty songs." - CurtainUp: 'Old Hats' review

 “As Prince Bolkonsky’s defiantly dutiful daughter Mary, Shaina Taub is a powerhouse of quiet emotion." NewStatesmen: 'Natasha, Pierre & The Great Comet of 1812' review


NEW YORK TIMES: Shaina Taub Finds Inspirations by the Score

THE INTERVAL: An Interview with Shaina Taub

STAGE AND CANDOR: A Conversation with Shaina Taub

WeWORK: Composer Shaina Taub Finds Inspiration in Bach and the Backstreet Boys



BACKSTAGE: The Working Actor

SEVEN DAYS: The Year of Shaina Taub