Athanassiadi, How did you end up choreographing the most successful shows in town?

10 Απριλίου 2018

Anna Athanassiadi is an example of an artist who, when she has talent, has worked hard with the support of her parents and has the luck factor on her side, can succeed

what he dreams of. Coming from an artistic family, as her grandmother's sister was the famous dancer Linda Alma, married to the actor Manos Katrakis and her grandmother Eo

Theofilou, one of the first singers-actresses of Attic in Mantra, who, under the pseudonym Kitty Alma, performed in the theater until she married her grandfather and started a family.

Anna started rhythmic gymnastics from a very young age with the encouragement of her parents, studied dance at the State School of Orchestral Art and at the Higher Professional School of Dance

Rallou Manou, and passed the exams at the Ministry of Culture receiving her degree. Since 2004, a "significant year for our country", as he told me. He works professionally, as

dancer, in musical scenes and in the theater and developed into the most important choreographer of her generation. "Mama Mia," "Annie," "The Adams Family," "Happiness Tune," "Come A Little Bit,"

"Charlie Chaplin", are some of the theatrical performances that he successfully choreographed. We met, just before Easter, at the historic Acropolis Theater, during

performance of "Jesus Christ Superstar", enjoying the music from the hall while drinking our coffee in the cozy foyer.

Anna how much did your aunt Linda Alma influence you to take up dance;

He was my role model. He had a unique career! I didn't get to see her dance, I lived her at home as an aunt, with her advice and her experiences. The more you search to find that which

you admire, you discover other aspects of this person's character, career and personality. What I envy about my aunt is the trips she took because of her talent.

She received proposals from many foreign cities to dance with her partner Giannis Fleuris, with whom they danced in all the great theatrical successes of their time. imagine

that Edith Piaf came to Greece, saw her and asked to tour abroad. They even shared the same dressing room. Situations that, today, are not unlikely to happen, but they are

quite difficult.

You had difficulty in your first professional steps;

I struggled, I constantly went to auditions, at first my parents supported me a lot financially, I went through everything that every young person goes through. I heard from a teacher that I am not made to

to become a dancer and do something else, tickle the position of someone with more talent than me. I don't know if he said it cleverly to persuade me or if it was out of malice.

The result was to convince me. I don't know if it was, but I made it not. I proved both to those around me and to my teachers and classmates that my career went well,

after all. Generally, I was one of those people who would always be auditioned. I was appearing at the audition and the others were telling me why you came again. (laughs)

We are in a calm, any longer, environment after the reactions, which were created by a small group of people in the early days of the performances. What feelings did it leave you with?

this whole story;

I was very angry with the events. They wanted to destroy our show, the theater building, and therefore the property of the owners. They tried to impose their point of view, with

verbal attacks, on spectators and workers. I respect the right of every person to have his opinion and to criticize, but after first seeing the show. None of them do

saw. Fortunately, along the way I guess they realized their mistake, that is, that our performance was not blasphemous, as they considered it, and left. Thus, we were able to calmly and successfully

let's continue the shows.

How did your collaboration with Themida Marcellou begin?;

Themis is a big chapter in my life. It came at a time when I thought I would be out of place. There had been a misunderstanding with someone in the area and I had found myself in trouble, something

I had said without, however, being valid. Completely by accident, I found out that there was a closed audition. I went, I tried my best, I think it showed how much I wanted to be taken, and I succeeded and so I danced in

Fame. Before the performances were over, I was offered the chance to choreograph Annie. And one performance followed another.

How is your relationship with her?;

She is an essential friend. She doesn't share easily, she doesn't trust easily, everyone wants to be by her side, it really touches me that she has chosen me to be among her friends. We get it, there is

chemistry between us, we work very well together. The relationship between director and choreographer is important. Inextricably linked partners. I love Themis, anyone who says anything about her will kill me

found in front of him.

How easy it was to choreograph Nikos Moutsina, whom we saw, for the first time, to dance;

Nikos has a strong personality, but he didn't object anywhere. I won't hide from you that at first I was a little afraid of him, we hadn't met. I thought he was a pro with

his point of view, his ideas, with the knowledge of what exactly he wants to do and I wondered how what I want and Themida had asked of me will be done. Finally, we met three minds and Nikos and me

listen He is a very good dancer, I don't know if he had the chance to show it. His body follows, I showed him once and he did. He is charismatic, I laugh with him, I have a great time.

I am very pleased with this show. From the premiere, when I saw it as a spectator, I liked it very much!

You have choreographed for the needs of musicals and singers. What is the difficulty you faced?;

It all starts with how much they realize they have to trust the choreographer. My first collaboration with a singer in a show I choreographed was with Michalis Hatzigiannis,

who is an artist we are not used to dancing. Michalis trusted me, he worked hard, even before the rehearsal, alone, after the rehearsal, with my assistant and he was

great in the show. He was jumping! Despina Vandi, a singer we have seen in shows dancing, moving, running and yet she heard a little noise, because in front of her I am a

little one, that I came to choreograph her at a very important moment in her career. He first found himself acting in the theater. I mean, it's not enough to choreograph something I have

think, but through my steps to bring out the good parts of themselves, to see their potential and shine on stage.

Since you mentioned Annie, you had taken the stage, the second year of performances, and as an actor.

The first year I was the choreographer and dancer. In the second year, when Ioanna Pelichou and Argyris Angelou left, I and Yiannis Savidakis from Rooster took on the role of Lily.

We also did difficult things with Giannis. We managed to bring out other characters in the heroes we played. Ours were more relaxed, more nocturnal. With this show

I experienced supreme joy. To be on stage, to play in a musical, which I had choreographed and to play with Anna Panagiotopoulou, whom I admired!

It was not, Nevertheless, the first time you were on stage as an actor. In 2009 you played in the classic comedy by Dimitris Psathas, «The Card Game». How did your collaboration with

Takis Zacharatos;

I was at the Bunbigton theater rehearsing for a play and bumped into Takis as he was leaving. I had heard that he was going to play cards and book the whole cast, but

he was looking for a girl for a role. Without us knowing each other, I ask him if he does an open audition. He asked me "can you say a monologue?" I replied “what monologue? I am a dancer". He took

to the director Vassilis Myrianthopoulos, who gave me something to read, I went on stage and after two days he called me that I got the role. Takis is very smart.

He knows who he has by his side, and what he can get from each one's potential. I remember how very giving he was all that time. Also very headstrong, he teased his colleagues

even on stage! He was really amazing as Rena!

I miss you not dancing on stage anymore;

Yes, I miss him. From an early age I wanted to be a choreographer. I've always loved choreographing when my friends and I used to dance when we were little girls. In the course of growing up I had

becomes necessary. I danced for 15 years and became a choreographer, rather early compared to the age at which choreographers usually become. I don't rule out dancing again, I would like to but not me

to choreograph, I tried it and it's very difficult.

As far as I know, we will enjoy your next choreography in the famous musical Matilda directed by Themida Marcellou. At what stage is the preparation?;

I am very happy, because I love this musical very much. Auditions have begun to find Matilda and her classmates. After Easter, the second round of auditions will take place with

the most dominant children to end the distribution of the children, who will play the roles. It will be presented by THEAMA AKROPOLI around the end of October. look forward to

let's start!

Is there another musical that you like and would like to choreograph;

Airspray. I really like this era, it has amazing music. I really like the rhythm of Rock and Roll. Also, I want to do a project of my own, with texts that I write this year

period with a partner of mine. I will do the choreography and direct it. It will be a Burlesque Show. We are currently looking for space and contributors.

You confided in me, that you are currently working on opening your own school in Kolonaki. What need led you to this decision?;

As a dancer I realized that there are schools, in which the course is very good, but it is for amateurs. There are no schools where you can learn another type of dance, except

from ballet and contemporary, on a professional level. I think Greece lacks such a place. With small classes so that the teacher can pay attention to you, teach you

a new kind of dance. To have things that a performer needs, even hip hop, jazz, pilates, trx, yoga. Dancers need to learn them, financially and in a place with qualified people


You are addressing professionals only;

There will also be children's sections, because my goal is to create a stream of people who will love musical theater from an early age. I also address amateurs

professionals, with general beginner sections in all genres. I believe that professionals must also evolve. It is not enough to find a job. That's why there will be a section

stage combat with the actor Nikos Ioannidis who has studied it, vocal with Vassilis Axiotis, there will be a special dance section for people with mental and kinesthetic difficulties, and my group

Dance on stage (Ioulita Mosaidou, Myrto Schinoplokaki, Manolis Theodorakis, Eleni Kyriakidis, Konstantinos Frigas), which I love and believe in very much, because they are all excellent


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