Actors

Actors

Natalia Kaja Chmielewska

Natalia Kaja Chmielewska

“Pay attention to this young and talented actress, she’ll be the source of plenty more delight at the theatre!” wrote Monika Oleksa of Natalia Kaja Chmielewska, who charmed audiences at the Stary Theatre as Tunia in “The Maidens of Wilko”, directed by Agnieszka Glińska. This strident, eye-catching artist created a remarkable character who will long live in viewers’ memories: “A combination of youth, great vitality, self-assurance, and total inaccessibility, despite a facade of intimacy, all marvellously portrayed” (Tadeusz Kornaś, teatralny.pl). The actress made her debut on the national stage while still a third-year student in Agnieszka Mandat’s “The Root  of Minus One,” where she tempted as one incarnation of the devil. Most recently, she has performed in Stanisław Lem’s “Fiasco” directed by Magda Szpecht, in which the young artist, delving into science fiction, explores some tough questions concerning the future of humanity.

Another enormous success was the actress’s role in Sławomir Narloch’s “Ladybird” (Dramatyczny Theatre of Warsaw), which brought her outstanding reviews: “Chmielewska also appears in the role of a bitter parishoner and is most convincing in either part. It is a pleasure to watch how, with a single hand gesture, she undoes her pony tail and turns from a joyful girl to a serious woman” (Kamila Łapicka, e-teatr.pl). “She smoothly shifts between two totally different people, who are nonetheless bound by their individuality. There is much detail in these creations, making them more light-handed and believable” (Anna Czajkowska, “Teatr dla Wszystkich”).

Viewers will also remember her from “A Nova Huta Soap Opera” (dir. Jakub Roszkowski, Łaźnia Nowa Theatre): “Natalia Kaja Chmielewska, Agnieszka Przepiórska, Wanda Skorny, and Weronika Warchoł (supported by a chorus and Oscar Mafa in a symbolic role) feel right at home in the soap opera convention, walking a tightrope of caricature. They have so much compassion for their protagonists that the audience is sure to share it” (Dawid Dudko, kultura.onet.pl). She has also performed in a graduation production of students at the Krakow Theatre Academy, Agnieszka Glińska’s “Burnt by the Sun,” addressing the place of the individual in a totalitarian state, and in “The Castle,” directed by Franciszek Szumiński, which took the top prize at the Young Director’s Forum (2018).

In the Theatre