Natasha trained at RADA. She is currently an artistic associate at Jermyn Street Theatre, part of the Creation Theatre Digital Rep Company and a core ensemble member with The Faction. She co-founded Women@RADA which has staged over 70 gender balanced playreadings, two new writing nights at The Arts Theatre, and the industry’s first graduate showcase.
As a director, credits include The Snow Queen (live online for Iris Theatre) The Merry Wives of Whatsapp (live online for Creation) The Time Machine (site specific at The London Library and then live online over Zoom for Creation) A Christmas Carol (live online for Guildford Shakespeare Company & Jermyn Street Theatre) The Last Fire Breathing Tunnel Digger, online as part of Telling Tales (Muck & Rumble – Oncom finalists 2020) Twelfth Night (Rose Playhouse) Rhino (King’s Head) Hilda and Virginia (Jermyn Street) and shorts performed at The Royal Court, Southwark Playhouse and Park Theatre. As associate/assistant director credits include Romeo and Juliet (The Globe) The Comedy of Errors (RSC) A Little Night Music (Storyhouse) and Shirley Valentine (Theatre Royal, Bury St Edmunds).
Credits as an actor include Grimm Tales, Midsummer Night’s Dream, Hamlet, King Lear and The Snow Queen (Creation Theatre) Love’s Labour’s Lost, Thy Eternal Summer, All That Glisters (Guildford Shakespeare Company) Dorian Gray (English Theatre Frankfurt) The Talented Mr Ripley [Offie nomination, best supporting actress] Romeo and Juliet, Joan of Arc, Dog’s Dialogue (The Faction at Wiltons Music Hall, Greenwich Theatre, New Diorama) The Mousetrap (West End) Roots (Nottingham Playhouse and tour) Ready Or Not (Kali Theatre at the Arcola and tour) Suitcase Stories (Sell A Door UAE tour) Relatively Speaking, Within The Gates (Frinton Theatre) Julius Caesar, Iphegenia (Colchester Mercury Theatre).
Natasha’s writing credits include The Snow Queen (Iris Theatre) Sleepwalk (RADA Festival) and Check Mate (Mercury Studio Theatre/Camden Peoples Theatre).
“I coach actors to work from a place of relaxation and release. My classes are encouraging spaces allowing students to be present, listen to scene partners, make active offers, and be confident in how to approach characters with confidence and a sense of play.”