Currently, we see you portraying Wednesday Addams in the musical “The Addams Family” at Vebo Theater. How has this experience been for you?
Now that we’re approaching the end, I can honestly say it’s one of the most beautiful experiences I’ve ever had in this field. I’ve done musicals before, but I was much younger then, so I don’t have such clear memories as I do now, experiencing it fully and consciously.
I’m really happy because I love my role, the show, and the people I work with, which is extremely important. I’m genuinely enjoying every moment. Even on Mondays and Tuesdays, when there are no performances and I get to rest, I still find myself looking forward to Wednesday to return to Vebo Theater.
At first, I was quite nervous because I’m a huge fan of Wednesday, especially Jenna Ortega’s version from the series. Before learning the plot of the musical, I had seen some scenes and assumed I would play that dark, strict, “black” version of the character.
However, when Themis (Marsellou) explained that this would be a different “evolution” of Wednesday, it was hard for me to imagine at first because I had already pictured something very specific. In the end, everything fell into place, and I ended up with a role that I truly love.
You entered a different artistic process compared to music. Would you be interested in pursuing acting more in the future?
Acting has always attracted me, as has drama in general. I attended the Gerakas Arts School and was in the theater department. We didn’t receive formal certification, but we practiced improvisation and acting exercises extensively.
I’m very interested in theater as an art form. However, I don’t think I would clearly define myself purely as an actress. Still, anything that combines music -which is my core- with acting, like a musical, I would feel completely comfortable trying again. Especially since I also dance a lot, musicals include everything I love and truly energize me.
Recently, we saw you on stage at Sing for Greece 2026, competing to represent Greece at Eurovision with “Χάνομαι” (“I Get Lost”). How do you recall that experience, and what did you gain from it?
I definitely won some personal battles. I’m generally a very anxious person, and this level of exposure was enormous for me, so I managed to overcome a big part of my anxiety.
I wasn’t used to operating under competition conditions. When I started in music, I worked with friends in a very protected and supportive environment, which shaped my early steps. That’s why I never tried a talent show before, I knew that sense of rivalry and comparison wasn’t for me.
It was extremely challenging for me, and honestly, I hadn’t realized at first just how big the exposure would be. That made it even harder.
Still, I met amazing, very talented people, and we’re still in touch. We hang out, support each other, and share our work.
The most important thing, though, is that I realized I could handle it. I thought I wouldn’t withstand the pressure and the anxiety, but I did. That, for me, was a personal victory.
You recently mentioned that for Sing for Greece 2026 you had to choose between “Χάνομαι” and the not-yet-released song “Γρανίτα Λεμόνι” (“Lemon Popsicle”). What made you choose “Χάνομαι,” and what can we expect from “Γρανίτα Λεμόνι”?
When we wrote “Χάνομαι,” it was a period -and honestly, the whole Eurovision phase- where I had an extremely tight schedule. Of course, all of this was my own choice, and I did it with joy and gratitude, but at some point, I felt overwhelmed.
I reached a point where I felt I had no time for my friends or my relationship. I would wake up and immediately enter a “robotic” mode, and that stressed me out. It frightened me that things I had chosen with love and that I enjoyed immensely were starting to feel mechanical.
I kind of “freaked out” because I realized that this wasn’t the point. I didn’t choose to do theater just to go through the motions exhausted and not enjoy it. Generally, I don’t operate that way in life.
So I felt that I missed my old self: more carefree, lighthearted, less anxious. I still miss her -the “little Marseaux”- who, even with responsibilities, never let them interfere to the point of losing balance or personal life, because she always made sure to preserve it.
“Χάνομαι” was essentially an ode to that old self and our carefree years. That’s why I chose it: I always follow inspiration, truth, and how I feel in the moment.
Now that this chapter is slowly closing and I’m moving toward a more beautiful and perhaps more carefree period -I’m not there yet, but heading that way- I felt it was the right time for “Γρανίτα Λεμόνι.”
It’s a completely different vibe: very pop, very dance, very lively. I don’t yet know when it will be released, because I first want to shape it exactly as I imagine it. I haven’t set a release date. I want to let it find its own path.
Do you think “Γρανίτα Λεμόνι” would have had a better chance of winning against “Akylas the Tempest”?
You know what? I don’t think so. It really was, as you said, a “tempest.” That moment was clearly tailored for Akylas. It was meant to be his moment.
I generally believe in the universe and karma. I felt it was his time. Honestly, even if someone like Loreen had participated, I think he still would have prevailed. It was the right moment, and somehow it felt “written” to happen that way.
If we were at a bar right now and I asked you, “Do you want a Lemon Popsicle or a Cherry Vodka?” what would you choose?
Right now, I’d go for the Lemon Granita. There’s also a related story behind this that connects “Βότκα Βύσσινο” (“Cherry Vodka”) with “Γρανίτα Λεμόνι” and explains how the two songs are linked, but I won’t reveal it just yet.
This year, you’re performing at Kentro Athinon with Konstantinos Argyros and Despina Vandi. What did you take from collaborating with these two incredible but musically different artists?
Honestly, I was really nervous at first, because, as you said, we don’t have much in common musically.
Still, I saw that the audience embraced me warmly, both fans of Konstantinos and Despina. I felt accepted, and in a way, they let me “warm up” the crowd for the stronger performances to come.
I was worried I might not fit in, but the opposite happened. What I’ve taken from Konstantinos and Despina is their magic and talent, their ability to create joy and truly lift a venue.
They have the power, through their temperament, energy, stage presence, and incredible voices, to make you rise from your seat without thinking. They make you feel like you simply can’t stay seated and that is truly remarkable.
