How did you get into theatre?
I did a BA Acting degree at Middlesex University in the 1990s. It was there that I found stage combat. I constantly felt on the fringes on the course, but stage combat sparked something that empowered me, which I could control with my body and mind. The seed was planted and I was given my nickname: Kombat Kate.

How would you describe the coaching aspect of your work?
The first minute I am in a rehearsal room or on set is the most important minute of my working day. I have to gain trust, listen to the needs of performers and empower them to own the physical action. You can only be creative once you have established a safe space. These skills have proved transferable during Covid, as I have been able to diversify and share my skills online.

What is your best piece of advice for drama students and graduates?
Our industry is such a mixed bag of people, which is wonderful, but this current situation has highlighted how little I knew about the role of other freelance artists. I think we have to recognise people more and make everyone feel included and valued. For starters – learn people’s names.

What is the best part of your job?
The creation of the physical action. I will never lose my love for the art of my skill. It makes a big difference to your performance if you feel that you are part of the creative process and are valued.

Who are the arts practitioners you admire the most?
Nick Hytner, who gave me a platform at the National Theatre; Lynette Linton, who directed the play Sweat, which I worked on. Her room was one of collaboration and creativity. Everyone was given the space to do their best work. Paul Foster is another director who has all of these qualities.

How can readers increase their mental and physical well-being?
Keep moving. My go-to release is boxing. I have been sharing my skills running Zoom classes for artists through Freelancers Make Theatre Work. The response has been wonderful.

Kate Waters was talking to John Byrne