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Lydia is a London based actress originally from Athens, Greece. She holds a Master in Acting (Theatre) from East 15 Acting School (University of Essex) and a Bachelor of Arts in Theatre Arts from Deree, The American College of Greece. Lydia moved to London in 2009 and after finishing her studies in 2010 she has been working constantly as an actress and voice over artist. She was a member of The Unseen Acting School/Talent Management for two years (2016-18) run by film director and writer Arjun Rose. During her time there she developed her craft and expanded her screen acting techniques. Moreover she performed in film productions and prestigious showcases at Soho House. Lydia was an artistic associate of Goblin Baby Theatre Co., a London based activist theatre company, from 2014-2017. She was also actively involved with Sibling Productions/Short Cuts Festival from 2012 till 2014. Furthermore she is part of the One Billion Rising campaign and a great supporter of Eve Ensler’s activist work. Work credits include short films Poison (London Film Studios), Caring For Mother (Future Focus Films), theatre productions Ajax (St. Peter's Hall) Welcome to England (Bread and Roses Theatre), The Devil and Stepashka (The Space Theatre), Timeshare (Hen and Chickens), Last Man in Watford (Southwark Playhouse), Under The Skin (Tristan Bates), Agamemnon (Courtyard Theatre), and a commercial for PHILIPS . |
Reviews |
‘Lydia is wonderfully precise and pernickety as Zhenya’s doting wife, Lisa…Whether she is folding sheets or inquiring incessantly after Stepashka’s child (who looks suspiciously like Zhenya) she has the harassed, loving, frantic possessiveness of a woman fearing, but refusing to believe, that she has been replaced. Lane makes it clear that Lisa finds validation only in Zhenya’s approval. This is excruciatingly obvious when she appears with a red scarf identical to Stepashka’s and tries, awkward as a ballerina in a music box, to please him by dancing a sensual ‘peasant dance’, just like her rival’. 'I particularly enjoyed Lydia...’s monologues and their characters voices have really stuck with me’. 'The chorus are tightly choreographed and powerful in their delivery of key elements of narrative throughout the performance.’ |
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