{"id":10081,"date":"2025-08-26T15:14:49","date_gmt":"2025-08-26T15:14:49","guid":{"rendered":"https:\/\/www.spotlight.com\/?p=10081"},"modified":"2025-08-26T15:14:49","modified_gmt":"2025-08-26T15:14:49","slug":"director-danielle-kassarate-stranger-things-the-first-shadow","status":"publish","type":"post","link":"https:\/\/www.spotlight.com\/news-and-advice\/the-industry\/director-danielle-kassarate-stranger-things-the-first-shadow\/","title":{"rendered":"Meet the Director: Danielle Kassarat\u00e9 on \u2018Stranger Things: The First Shadow\u2019"},"content":{"rendered":"

The Resident Director of \u2018Stranger Things: The First Shadow\u2019, Danielle Kassarat\u00e9, discusses her advice on auditioning for the West End and how her acting background has influenced her approach to directing.<\/span><\/h2>\n

Danielle Kassarat\u00e9 is an actor, director and co-founder of MAWA, the UK\u2019s first all-Black, all-female Shakespeare theatre company. After studying Musical Theatre at The BRIT School in South London, she trained as an actor at the Royal Central School of Speech and Drama.<\/span><\/p>\n

As the current Resident Director at The Phoenix Theatre for <\/span>Stranger Things: The First Shadow,<\/span><\/i> Danielle has also worked as an associate director and Head of Talent Development at Queen\u2019s Theatre, Hornchurch. Her first experience directing came from working as an assistant director on a production of <\/span>All My Sons<\/span><\/i>.\u00a0<\/span><\/p>\n

This opportunity led to more work assisting on productions of <\/span>The Lightning Thief: The Percy Jackson Musical<\/span><\/i>, <\/span>Tambo and Bones<\/span><\/i>, <\/span>The Tempest<\/span><\/i> at The Globe and<\/span> King Lear<\/span><\/i> at the Almeida Theatre. Danielle\u2019s experience quickly materialised with work directing productions of <\/span>Doughnut and Ice Cream<\/span><\/i> (Nouveau Riche), <\/span>Sandilands<\/span><\/i> (Talawa), <\/span>Epic Stages <\/span><\/i>(NYT), <\/span>Shakespeare on Sea<\/span><\/i> for MAWA at Queen\u2019s Theatre Hornchurch and a production of <\/span>Everything I Own <\/span><\/i>at Brixton House, alongside co-director Daniel Ward.\u00a0<\/span><\/p>\n

As an actor, Danielle\u2019s work includes the Netflix series <\/span>The Sandman<\/span><\/i>, <\/span>The Color Purple Musical <\/span><\/i>performed at the Birmingham Hippodrome and the Leicester Curve, the International Tour of<\/span> The Curious Incident of the Dog in the Night-Time <\/span><\/i>and <\/span>The Architect<\/span><\/i> at Greenwich + Docklands International Festival.<\/span><\/p>\n

In this interview, Danielle shares her insight for actors who are auditioning for the West End, how to be comfortable in the room and why she believes the power of theatre is deeply healing.<\/span><\/p>\n

Here\u2019s what she had to share:<\/span><\/p>\n

Hi, Danielle! Can you tell us about your earliest inspiration to become an actor?<\/h3>\n

To be fair, I wouldn\u2019t say it was about wanting to become an actor specifically, more that I knew I wanted to do it. My mum always took me to the theatre. When I was younger, they used to have these offers \u2013 I don’t know if it was just for nurses, but she had vouchers for discounted West End tickets. She\u2019s a nurse, and that discount made theatre accessible for both of us, so we went a lot.\u00a0<\/span><\/p>\n

That\u2019s where the love started: early memories of sitting in an audience and feeling inspired. I didn\u2019t know if I wanted to act necessarily, but I knew I wanted to do something creative, something that allowed me to be part of the storytelling. I was always drawn to creativity, whether it was school plays or anything artistic.<\/span><\/p>\n

One of my earliest and most memorable shows was <\/span>Porgy and Bess<\/span><\/i>. It\u2019s funny because I saw Clark Peters in that show, and years later, I ended up assisting on <\/span>King Lear<\/span><\/i>, working with him directly. Seeing someone I admired on stage and then getting to work alongside him really felt like a beautiful, full-circle moment.<\/span><\/p>\n

How did your training at the Royal Central School of Speech and Drama prepare you for working on the West End?<\/h3>\n

I trained in Drama and Applied Theatre in Education, not acting, and that choice was really shaped by my time at The BRIT School, where I studied Musical Theatre.<\/span><\/p>\n

During BRIT, we did a community theatre project that made a big impact on me. At the time, a lot of people around me knew exactly what drama schools they wanted to apply to, but I didn\u2019t feel ready to make that kind of decision. I was 17 and still figuring it out. I told my drama teacher how much I loved that community project, and she suggested the course at Central. She had done it herself.<\/span><\/p>\n

Once I got there, the course really shaped me. It wasn\u2019t always smooth, but it was life-affirming and I\u2019m glad I did it before fully stepping into the industry. It helped me understand theatre as more than just performance but as something deeply communal, healing and powerful.<\/span><\/p>\n

We worked with Mind Charity and local schools, and my placement at Haringey Shed became my job after graduating. I was directing young people, though at the time I didn\u2019t call it directing, but when you\u2019re guiding 50 kids through <\/span>The Tempest<\/span><\/i>, it <\/span>is<\/span><\/i> directing. My path to Central wasn\u2019t linear, but it led me exactly where I needed to be.<\/span><\/p>\n

What inspired you to want to pursue directing?<\/h3>\n

After Central, I was working full-time at Haringey Shed. I was directing without calling it that. Then I decided to explore acting again, took some classes, got a scholarship, trained for a year, and got an agent.<\/span><\/p>\n

So for five to seven years, I focused solely on acting \u2013 no teaching or directing, but after lockdown, things shifted. A director I\u2019d worked with at Queen\u2019s Theatre asked me if I\u2019d ever considered directing professionally. I hadn\u2019t. He encouraged me to assist him on <\/span>All My Sons<\/span><\/i>, so I applied for the Regional Young Director Scheme and got it, which led to more assisting jobs and eventually to directing my own work.<\/span><\/p>\n

So my directing career has been built from acting, drama school teaching and assisting. All those strands came together to form the path I\u2019m on now.<\/span><\/p>\n

\"\"<\/p>\n

Image credit: The Other Richard<\/em><\/p>\n

You also co-founded MAWA Theatre Company \u2013 the UK\u2019s first all-Black all-female Shakespeare company. Can you also tell us more about MAWA and the motivation behind founding the company?<\/h3>\n

We founded MAWA in 2020, during the pandemic. It came out of that time of deep reflection and unrest. There were so many conversations happening in the industry and Maisy Bawden had the original idea. It got us all thinking: if and when things open up, when we come back into the industry, what do we want it to look like?<\/span><\/p>\n

We all loved Shakespeare and wanted to create space for ourselves in that world. My passion came from my community theatre background. I was really interested in outreach. Together, Maisey, Gabrielle, Jade and I formed MAWA. We started with online videos during lockdown, then moved into live work \u2013 two monologue slams in Birmingham and the Globe.<\/span><\/p>\n

Where it\u2019s going is still evolving. People grow creatively, and that means the company may take different shapes, together or individually. Creating opportunities and holding space for underrepresented voices is always at the heart of what we do, whether that\u2019s together or separately.<\/span><\/p>\n

You are currently the Resident Director of Stranger Things: The First Shadow.<\/i> What does this role entail?<\/h3>\n

I oversee the show day-to-day, watching performances, giving notes, managing cast changes, rehearsing covers, and maintaining the original directors, Stephen Daldry and Justin Martin\u2019s vision.<\/span><\/p>\n

Essentially, I\u2019m the director on the ground throughout the week, and I work closely with the Associate Director, Anna Girvan.<\/span><\/p>\n

How did you first become involved in Stranger Things: The First Shadow<\/i>?<\/h3>\n

I joined towards the end of last year for the first cast change. I\u2019d already seen the TV series and loved it. When the meeting came through, I was really excited by the idea of stepping into something that already had such a strong identity. I hadn\u2019t seen the stage show at that point, so I made sure to catch it before the meeting, and I was honestly blown away. The way they\u2019d brought that universe to life on stage was incredible. Everything from the design to the performances felt so connected to the series, but also had a life of its own. It made me even more sure that I wanted to be a part of it.<\/span><\/p>\n

Joining a production mid-run can be challenging. Have there been any struggles you\u2019ve had to navigate?<\/h3>\n

I wouldn\u2019t call them challenges, just part of the job. I\u2019ve actually joined long-running shows as an actor before, even mid-run, so I know the feeling from both sides.<\/span><\/p>\n

It\u2019s about learning the ropes, building relationships, and getting comfortable in a new space. I made sure to watch the show before my interview, and I loved it. So when I got the job, I felt excited more than anything.<\/span><\/p>\n

It\u2019s a process, day by day. Learn the show, learn the names, be kind to yourself and, over time, you find your rhythm.<\/span><\/p>\n

What is your favourite moment from the show?<\/h3>\n

There are honestly so many moments I love, and I wish I could talk about all of them, but I\u2019d be spoiling things. What I can say is that what the creative team has managed to do is nothing short of magic. The way they\u2019ve taken the feel of the series \u2013 the suspense, the emotion, the nostalgia \u2013 and brought it to life on stage is incredible.\u00a0<\/span><\/p>\n

You get this real sense that you\u2019re stepping into that world. And for fans of the original show, there are some beautiful nods to familiar characters popping up in ways that make the story feel both fresh and deeply connected to the series. It\u2019s really rewarding to see people in the audience clock those moments.\u00a0<\/span><\/p>\n

What do you think theatre adds to the Stranger Things<\/i> story that TV can\u2019t offer?<\/h3>\n

The fact that it\u2019s live. That might sound obvious, but for a story as big as <\/span>Stranger Things<\/span><\/i> \u2013 a world full of monsters, parallel dimensions and real emotional stakes \u2013 experiencing it all unfold in real time, right in front of you, adds a whole different energy. There\u2019s a kind of electricity in the room, especially in the more intense or surprising moments, where you can literally feel the audience holding their breath.\u00a0<\/span><\/p>\n

There are moments where you\u2019ll genuinely think, \u2018How on earth are they doing this on stage?\u2019 It reminds you how powerful theatre can be. It’s inventive, visceral and immediate in a way that screen can\u2019t quite replicate.<\/span><\/p>\n

What advice can you give to actors about auditioning for West End theatre?<\/h3>\n

One big thing: don\u2019t feel like you have to be a carbon copy of what\u2019s already on stage. Even with a show like <\/span>Stranger Things<\/span><\/i>, where there\u2019s a television reference, we\u2019re not looking for impersonations; we want to see you.<\/span><\/p>\n

Do your research, yes, know the world of the show, but be playful. Don\u2019t lock yourself into one version of a scene. You don\u2019t need to be off-book, but being familiar helps and most of all, be open and don\u2019t let rejection define you. I\u2019ve been rejected far more than I\u2019ve been accepted, like most actors. Sometimes the decision comes down to the smallest thing. You can be brilliant and still not be the right fit for this show. That \u2018no\u2019 is just making room for the \u2018yes\u2019 that\u2019s coming.<\/span><\/p>\n

\"\"<\/p>\n

Image credit: Ben Wulf<\/em><\/p>\n

Do you have any tips for actors on how they can successfully collaborate with directors during a show\u2019s run?<\/h3>\n

Playfulness and generosity go a long way. Offer ideas, be open to discovery. Even in long-running shows, there\u2019s still room for actors to explore and bring themselves to the work.<\/span><\/p>\n

Collaboration is a journey and every actor brings something unique. That sense of ownership and play helps build a strong relationship with the director.<\/span><\/p>\n

What advice can you offer for actors who are also interested in directing?<\/h3>\n

Go for it! Team up with your friends, start small fringe festivals, scratch nights \u2013 anything that lets you experiment. There are also amazing initiatives like Open Hire. I\u2019ve applied for those roles before. Even if you don\u2019t get it, the interview practice is valuable.<\/span><\/p>\n

Drama schools are also great spaces to ask to direct on first or second-year projects. That\u2019s how I started. Use your creative community, your tribe, and create your own opportunities.<\/span><\/p>\n

Has your experience as an actor influenced your directing style?<\/h3>\n

Massively. It\u2019s given me a deep understanding of what it feels like to be in the rehearsal room from the performer\u2019s side, the vulnerability, the pressure, and the joy.<\/span><\/p>\n

When I started assisting professionally, I gained a new appreciation for the many layers of collaboration happening behind the scenes. My background as an actor means I always carry a sensitivity to the room, to energy, to people, to moments that might need care rather than push.<\/span><\/p>\n

Part of what drew me to directing was the chance to help shape spaces where artists feel genuinely supported, spaces that allow for risk, honesty and growth. I don\u2019t always think I had that, and maybe that\u2019s why I value it so much now.<\/span><\/p>\n

Ultimately, I just want to create rooms where people feel brave enough to try, safe enough to fail, and inspired enough to fly.<\/span><\/p>\n

Do you have a preference for acting or directing? Also, how do you find switching between the two?<\/h3>\n

Right now, I\u2019m enjoying directing. It\u2019s where most of my focus is, but I don\u2019t feel the need to choose. There\u2019s no rule that says you have to do just one thing. I\u2019m giving myself the freedom to explore whatever part of my creative self feels most alive at the time.<\/span><\/p>\n

Finally, what show on the West End would be your dream production to direct?<\/h3>\n

My background is in musical theatre, so I\u2019d love to direct a musical. One that really excites me is <\/span>Five Guys Named Moe<\/span><\/i> by Clarke Peters. I\u2019d be interested in exploring a gender-flipped version of it. The score is incredible, and a lot of the songs are actually about women and relationships from a very male perspective.<\/span><\/p>\n

It would be fascinating to flip that lens and reframe it through female voices, not just to challenge the male gaze, but to reveal something new in the storytelling through that same catchy, bold and brilliant music.<\/span><\/p>\n

Thank you, Danielle, for taking the time to speak with us!<\/span><\/i><\/p>\n

\u2018<\/span><\/i>Stranger Things: The First Shadow\u2019<\/span><\/i><\/a> is on at The Phoenix Theatre now. The documentary \u2018<\/span><\/i>Behind the Curtain: Stranger Things The First Shadow<\/span><\/i><\/a>\u2019 is currently available on Netflix.<\/span><\/i><\/p>\n

Take a look at our website for more <\/span><\/i>interviews with performers, casting directors and agents<\/span><\/i><\/a>.<\/span><\/i><\/p>\n

\"\"<\/span>Karen is a British actor of south Asian descent, born and raised in Birmingham, England. She is a graduate of The American Academy of Dramatic Arts in Manhattan, New York. Most notably known for her role as\u00a0Nicole Shelley\u00a0in the award winning Apple TV+ series\u00a0Ted Lasso\u00a0starring opposite Jason Sudeikis, Hannah Waddingham, Brett Goldstein and Nick Mohammed. She also played\u00a0Noreen Khan\u00a0in\u00a0 the first two seasons of the BBC television series\u00a0Phoenix Rise.
\n<\/em>
\nIn Theatre, Karen starred in Ayad Akhtar\u2019s\u00a0The Who and the What\u00a0at The English Theatre of Hamburg in Germany and performed opposite Scottish actor Alan Cumming in the original musical\u00a0Me and the girls\u00a0directed by Tony award winner Douglas Carter Beane. She has also played leading roles in regional premieres of David Harrower\u2019s\u00a0Blackbird\u00a0and Duncan Macmillan\u2019s\u00a0People, Places and Things.\u00a0In 2022 she was directed by Iqbal Khan in\u00a0Mismatch\u00a0at The Birmingham Rep as part of the Sky Comedy Rep Festival. Her other credits include lead roles in\u00a0Camel\u00a0written by Charly Clive,\u00a0Welcome to Thebes,\u00a0As you like it,\u00a0Lysistrata,\u00a04.48 Psychosis,\u00a0The Tempest,\u00a0Good Fit,\u00a0She Kills Monsters,\u00a0American As,\u00a0Julius Caesar\u00a0for The Public Theater at Shakespeare in the Park and\u00a0Journey to America\u00a0at the world famous Carnegie Hall, New York.
\n<\/em>
\nKaren\u2019s selected work on film includes starring in\u00a0The Waves\u00a0for MTV Entertainment directed by BAFTA award winner Sindha Agha,\u00a0Man on the Phone\u00a0for Red Bear Films and\u00a0Frank\u2019s Plan\u00a0for Amazon Prime. She has also appeared in commercials for\u00a0Aramco,\u00a0WhatsApp\u00a0with Alex Scott,\u00a0TK Maxx, West Midlands Combined Authority\u00a0and\u00a0Northwell Health Insurance\u00a0in New York. She recently performed at the An Tain Arts Centre in Dundalk, Ireland in\u00a0Why are you here?\u00a0Directed by Paul Hayes.<\/em><\/p>\n

Headshot credit: Andy Brown<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The Resident Director of \u2018Stranger Things: The First Shadow\u2019, Danielle Kassarat\u00e9, discusses her advice on auditioning for the West End and how her acting background has influenced her approach to directing. Danielle Kassarat\u00e9 is an actor, director and co-founder of MAWA, the UK\u2019s first all-Black, all-female Shakespeare theatre company. After studying Musical Theatre at The […]<\/p>\n","protected":false},"author":13,"featured_media":10088,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[35],"tags":[123,95,81],"class_list":["post-10081","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-industry","tag-directors","tag-interview","tag-theatre"],"acf":[],"yoast_head":"\nDanielle Kassarat\u00e9 on \u2018Stranger Things: The First Shadow\u2019 | Spotlight<\/title>\n<meta name=\"description\" content=\"Danielle Kassarat\u00e9's advice for West End auditions, working with directors and her experience working on 'Stranger Things: The First Shadow'.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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