NATASHA Kafka is appearing in the next production to take to the Mercury’s Studio space, Oliver Bennett’s Europe After the Rain. The play, which explores what waking-up in a post-EU Britain might feel like, was the winner of last year’s Mercury Playwrighting prize and runs from May 25 to June 9.

What or who got you interested theatre? Did you take part in any productions at school?

I never thought theatre or acting was career, I was never encouraged to go down this route. However I loved seeing shows, doing school plays and drama was my favourite subject and hobby.

My drama teacher at school was the first person to really plant the seed in my mind that perhaps this could be my career. She helped me apply for drama schools and prepare for the auditions and I never looked back.

Are or were any members of your immediate family involved in the theatre?

Absolutely not, I’m definitely the black sheep in my family.

Who is the most inspiring person you’ve worked with and why?

Richard Cant came and directed my Shakespeare production whilst at Drama School. He was incredible to work with as he cared deeply about our individual progress and nurturing us through the rehearsal process.

I felt really safe in his creative space and privileged to learn not only from his direction but also from his vast acting experience. It was truly a master class.

What formal training have you done?

I trained at Mountview Academy of Theatre Arts in Actor Musicianship.

Halstead Gazette:

Natasha Kafka

Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?

Music instruments are an important skillset for me. My main instruments are piano, violin, guitar and clarinet. I guess Diablo is a bit more unusual, I can do quite a few tricks and I really want to learn to juggle properly so I can have a circus theme to my skills. I feel like that would be fun.

Which experience/role do you regard as the highlight of your career to date?

Honestly, and I’m not just saying it, but right now playing Marta in Europe after the Rain. She is a fabulous character with so much to her and the play is thought provoking and full of conflict.

I’m absolutely loving this experience and cannot what for it to be shared with an audience. You have to see this show it’s just amazing.

What has been your most embarrassing moment on stage?

I was playing the fiddler in Fiddler on the Roof and we were ready to start. I got the cue to begin so I walked on stage climbed onto the piano, raised my violin to neck and just as I was about to start playing my string broke. I had to jump down, walk off stage and swap violins with another actor to walk back on stage again so I could start the show.

Luckily there were three other violinists in the ensemble so we just kept swapping around and making sure we all had a violin when we needed one but it was a nightmare.

Which actor(s) performer(s) do you most admire and why?

Kate Mckinnon, Ruby Rose, Uzo Aduba, Judi Dench, Lupita Nyong’o, Julie Walters, Tina Fey, Jessie J, Angelina Jolie, Helena Bonham Carter, Laverne Cox, Miriam Margolyes, Demi Lovato and I’ll stop there...

Halstead Gazette:

Lupita Nyong’o (centre) with co-stars in Black Panther. Picture: PA Photos/Marvel Studios/ Matt Kennedy

What role would you most like to play and why?

Rosalind in As You Like It because I played her last year and I don’t I did it very well so in a few years time when I’m better I’d like to play this character again and do it justice.

Ever corpsed on stage? What happened?

Nope never.

Any big plans for the future?

All I hope for my future is that I can carry on being employed as an actor and musician. I’ve only just begun so all I want is to keep going.

Any tricks for remembering your lines or other useful tips to pass on to other actors/directors?

Work on your character from the script. Ask yourself questions about them, their relationships, and their life. Find the answers in the text. Look for clues in your lines and also in other characters lines, what other people say about you is very telling. Use the text to build your characters world and only fill in the gaps once you are absolutely sure you have nothing left to find in the script.

After all this work you should be so familiar with your character that the words will go in easier. Also you may find that by doing detailed character work you have actually read the script so much and know it so well, you already know your lines!

  • For tickets call the box offfice on 01206 573948 or click here.