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Maria Kempinska: ‘Entertainment was an incredible way to lift people’s spirits’

Maria Kempinska. Photo: Gary Williams
Maria Kempinska. Photo: Gary Williams

Psychotherapist – and founder of the influential Jongleurs Comedy Clubs – Maria Kempinska tells John Byrne about how knowing yourself is invaluable to both health and creativity

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How did you start off in theater? 

I put on my first show as a charity fundraiser at school. I trained as a teacher of English and drama and trained as an actor at Morley College, London. I knew that entertainment was an incredible way to lift people’s spirits and invaluable for creativity and self-expression.

What instigated your move into psychotherapy and mentoring?

I always wanted to help others find a better way to reconcile their lives. My parents suffered from PTSD since they were prisoners of war who experienced brutality and loss. I ran a social action group at college and volunteered as a Samaritan at 19 with Chad Varah, founder of the Samaritans. Even though this work was meaningful, since I grew up on a council estate, I had to [earn money, too]. I did a number of jobs from pub work to being an actor’s agent assistant, eventually founding Jongleurs Comedy Clubs. It was here I learned the most about business. I passed my MA in psychotherapy and healing and then my PhD in psychoanalysis. All these learnings gave me knowledge to help and mentor others.

What is your best advice for drama students and graduates?

Know who you are – not just your feelings, but your conviction towards life. If you recognise the depth of your emotions, you can empathise with your character. 

What would you change about the industry?

Social and moral issues acted and discussed via improvised drama. More investment with tax advantages for productions. Children will not be taught the classics – theatre is the best way to see great work.

What are your most and least favourite parts of the job?

My favourite is the connection to others on a profound level, where internal change is made and reflected in their behaviour and social and professional life. My least is that it is such hard work to fund essential workshops even though the feedback is incredible.

What is one skill that every successful theatre professional should have?

Self-discipline and self-reflection with professional aid. Many vulnerable people are in the spotlight without psychological support.


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