Masha Dakich

Born in Serbia, Masha’s path to finally settling in New York was anything but ordinary. During the bombing of her country, on her first trip to the city, a chance meeting with a woman of Serbian origin led to Masha attending Ethical Culture Fieldston High School (Bronx, NY) on special admission. After half a dozen months—just as she was beginning to grasp American expressions—she chose not to stay illegally and returned home, enrolling in the regionally renowned Academy of Dramatic Arts, where she ranked first out of over 600 applicants.

To translate her career path: her first role was in a hit show—an Off-Broadway equivalent—directed by one of the most prolific theater directors of the time. The production ran for ten years, and her effervescent appearance on the stage of Yugoslav Drama Theatre was “unforgettable”. As Serbian theater operates on a repertory system, she quickly took on a range of roles, including the immediate lead in Beauty and the Beast, Wendla in Spring Awakening, and an effortless portrayal of the unbearable 12-year-old Alegra in the long-running hit Locusts (over 200 performances), which took her on her first European tour.

Performing in Zagreb at age 26, previously unknown to regional audiences, she impressed critics, one of whom wrote: “As if a real actress, young girl Masha Dakic stood shoulder-to-shoulder with giants of Yugoslav theater”—still one of her favorite reviews to date.

In her “downtime”, Masha became something of a “franchise princess” in voice-over, voicing Serbian versions of Vanellope von Schweetz (Wreck-It Ralph), Peaches (Ice Age), Candace (Phineas and Ferb), Strawberry Shortcake, and Smurfette—becoming a leading artist in the field.

After taking a year to study at the Lee Strasberg Theatre & Film Institute in New York, she returned with refined energy and tools, building strong collaborations, including with Romanian director Alexandru Darie on Pierre de Marivaux’s La Dispute, performed at the World Theatre Festival in Bogotá. She also developed a long-standing creative partnership with director Anja Suša. Together they created four productions, including Maya and I and Maya, a brutal social critique inspired by the hugely popular Belgian children’s book series Martine (Marcel Marlier and Gilbert Delahaye), which toured Poland, Slovenia, and Croatia, introducing Masha to wider audiences.

Her “bona fide parade on stage” earned her a move to the UK. Within a year, working in London and Derry, she played Anezka Ungrova in Brian Friel’s Performances, alongside Allan Corduner (Homeland, Topsy-Turvy), directed by Adrian Dunbar (My Left Foot, Line of Duty).

Back in Serbia, Masha expanded into production, working with the internationally recognized Tuna Fish Studio. She produced the regional web series #justsaying, centered on the first post-war gathering of multi-ethnic youth from former Yugoslavia. Supported by BBC Media Action, the show won a World Media Award, a Satellite Award, and was a Webby Honoree.

A year earlier, she wrote and produced the short film Run Up, featuring Gael García Bernal (Mozart in the Jungle, Y tu mamá también) and four-time Cannes-winning director Emir Kusturica (Underground, Black Cat, White Cat). The film screened at the Tokyo Film Festival, Aesthetica Film Festival (UK), and Miami Film Festival, and came close to selection at Tribeca. Years later, through a serendipitous connection, Masha joined Nancy Lefkowitz’s team within the Tribeca Festival, working in Artist Relations and Special Events and gaining insight into the industry from another angle.

Shortly before that, she had moved to New York full-time to be with her husband and their long-standing, in-demand East Village restaurant, Kafana (named among the New York Times’ 100 Best Restaurants). She lives there with her (still) husband and their menace of a dog, Tzane.

Just as it seemed she might settle into life as a maître d’, Masha was invited back to Serbia to play Debra in a local adaptation of Everybody Loves Raymond. Over the equivalent of three U.S. seasons, her performing instincts reignited. The show brought her a level of public recognition she hadn’t experienced through theater alone, shifting her position in the public eye.

Seizing the moment, in January 2024 she premiered a sold-out, critically acclaimed production of Prima Facie, which she also produced. Returning to the stage after a ten-year hiatus, she performed alone for 100 minutes straight, earning praise for her “incredible capacities,” “whirlwind speed,” and “a shot of mastery.” She was awarded the prestigious Miloš Žutić Award—the Serbian equivalent of a Tony.

Beyond critical acclaim, Masha received the Victimology Society Annual Award for Advancement of Victims’ Rights. Through Prima Facie, she engaged courts, judges, lawyers, law students, and human rights organizations in post-show discussions across smaller cities, also performing for deaf audiences and supporting organizations focused on women’s rights in cases of sexual assault.

As she continues to reshape Serbian creative spaces, Masha is now ready to step onto one of the world’s most sought-after stages. She is currently seeking representation in New York—someone who can help guide her “foreign” identity and shape the next phase of her career in the U.S.

She is beyond excited to take part in Servane Dècle and Milo Rau’s Pelicot Trial at NYU Skirball this March.