By: Yomna Walid

Throughout her career, Lebanese actress Randa Kaady has taught audiences an important lesson about choosing roles: never be afraid to step outside your comfort zone. Best known for portraying mothers in all their forms, from the kind-hearted to the difficult and complicated, Kaady has consistently sought characters that challenge her and allow her to explore different sides of her talent.

Making her Egyptian drama debut this year, Kaady won over Egyptian audiences with her portrayal of Greta in “El Qessa El Kamla: Gareema Fi Al Zamalek," alongside Saba Mubarak, Ahmed Bahaa, and Mohamed Ali Rezk. Despite being a special appearance, her performance left a strong impression, introducing audiences to a different side of the Lebanese actress and proving that even a guest role can leave a lasting mark.

With a career spanning Lebanese and Arab television, cinema, and theater, Kaady has built a reputation for portraying diverse characters with emotional depth and authenticity. From her memorable role as Hajja Doha in “2020” to her compelling performance as Margo in the 2026 Ramadan series “Bil Haram," she has continued to embrace complex roles that push beyond familiar character types.

In an exclusive interview with NileFM, Kaady takes us behind the scenes of bringing Greta to life, reflects on the success of Margo, a character unlike any she had portrayed before, and reveals why she has decided to step away from the Ramadan 2027 drama season for the first time in her career. She also opens up about her upcoming series “Mafia” and what lies ahead in her artistic journey.

After a long career in Lebanese and Arab drama, how did you feel when you were offered the opportunity to make your Egyptian drama debut through “Gareema Fi Al Zamalek," part of the series “The Full Story”?

It was an honour to be approached by producer Magdy El Hawary and invited to make a guest appearance in the story “Gareema Fi Al Zamalek." Honestly, it was a dream come true.

What were the biggest challenges you faced during this experience, whether in terms of mastering the Egyptian dialect or adapting to the nature of the production and filming style?

Every new project brings a challenge between the character as written and the actor portraying it, and that is perfectly natural. The most exciting challenge for me was taking on the Egyptian dialect.

Although we grew up listening to Egyptian dialect through cinema, particularly the classic black-and-white films, one might think that mastering it would be easy simply because we love it. However, it is actually quite difficult. Every dialect and every country has its own linguistic characteristics and expressions that only native speakers truly understand.

It was a challenging yet enjoyable experience to master the Egyptian dialect and try to speak naturally in Egyptian Arabic. What helped me was that the character is Greek and foreign. However, the greater challenge was learning how to pronounce the Greek dialogue correctly without making it sound as though I was a foreigner. So, it was a double challenge: mastering both the Egyptian and Greek dialects.

How did you approach Greta's character? What attracted you to her and made you excited to portray her?

Greta is a very kind-hearted woman. One thing I have noticed about Europeans is that they tend to be trusting and sincere. Their way of thinking and interacting with others is quite straightforward, unlike the more complex way of thinking we sometimes have in the Arab world.

What attracted me to Greta was that she is not foolish; she is simply honest with herself and others. Her kindness led her to trust Nadia, but Nadia's circumstances eventually turned that trust into a crime.

What also excited me was the opportunity to work in Egyptian drama. Egypt is the mother of the world, and succeeding there, particularly with Egyptian audiences, is an additional achievement in any artist's career. I was fortunate to have that opportunity.

I genuinely loved the character and worked on even the smallest details, from the way she laughs innocently to how she sees and interacts with people. Greta is compassionate, but when she eventually confronts Nadia, another side of her emerges: a woman who is determined to stand up for the rights that have been taken away from her.

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Greta and Nadia's relationship brings together friendship and betrayal. How did you interpret their relationship? Were you able to understand Nadia's motives and sympathise with her circumstances, or did you feel her actions went beyond any possible justification?

The relationship between Greta and Nadia is full of contradictions. It begins with affection, kindness, and mutual warmth. Nadia initially treats Greta with the same kindness and shyness, making theirs a very special relationship. However, things gradually change until they become enemies and Nadia commits the crime.

I would not necessarily say that Nadia's circumstances justify what she did. But from Greta's perspective, I would certainly feel that Nadia had been taking advantage of her.

I am speaking here from the character's perspective, not as Randa. Once we take on a role and embody a character, we defend that character's point of view because we have adopted the script's convictions. There is nothing personal about it.

What was the most difficult scene you shared with Nadia during the series? And what were the filming conditions like behind the scenes?

The atmosphere on set was wonderful. There was trust between the actors and the director, as well as among all the crew members. Everyone respected the actors' performances, and there was a great deal of discipline and professionalism.

I hope every actor gets to experience such a high level of professionalism. It creates an atmosphere that allows artists to step outside themselves and truly soar creatively.

The most difficult scene was when Greta confessed her illness to Nadia. She was begging her to understand that she was alone, with no family or anyone else to look after her. She felt that the woman who had given her attention, affection and trust was someone she could finally turn to.

It was incredibly difficult for Greta to admit that she was ill and needed someone to care for her. The thought of being sick, afraid of dying alone, with nobody by her side, was deeply painful.

The scene was extremely emotional. I cried a lot while portraying Greta, and we had to repeat it several times because Greta herself was not supposed to cry. However, as a person, the scene deeply affected me.

The confession, the way Greta embraced Nadia and sang her a Greek song were all part of a very emotional experience. It was difficult to recreate something like that because it touches on one of our deepest human fears: what if Randa herself were ever placed in such a situation?

That is why I was so affected and emotionally exhausted by it. Eventually, I had to step back and deliver the scene as Greta would have done. The director Mahmoud Abdel Tawab was exceptional in the way he guided the actors. Although my role was relatively small, it was filled with a wide range of emotions.

Another particularly difficult moment was the final confrontation, when Greta reveals the truth to Nadia and threatens to involve the police. The disappointment of trusting someone only to receive the cruelest betrayal in return is heartbreaking.

Even the first scene was challenging in its own way, although it was lighter than the others. Most of the scenes carried considerable emotional depth and required a great deal of sensitivity in the performance.

Having worked in both Lebanon and Egypt, have you noticed any differences in the way actors are directed or in the working environment on set in the two countries?

I do not think there is a fundamental difference between working in Lebanon, Egypt or any other country. As actors, we are always required to prepare ourselves for new experiences, whether that means working with a new director or portraying a character that demands a different approach and style of performance.

The most important thing on set is trust: the relationship between the director and the actor, as well as the director's relationship with the rest of the crew, including the lighting and sound teams. Everyone needs to trust one another and work towards making the production successful.

Of course, each country has its own flavour. Egyptian drama has a different identity from Lebanese or Turkish productions. As actors, we must be prepared and adaptable wherever we go.

For me, preparation is essential. I would never agree to work on a project without properly preparing, researching and exploring the depths of my character. When you are genuinely prepared and honest in your performance, it no longer matters whether you are working in your own country or abroad.

Is there a particular scene or behind-the-scenes moment from “Gareema Fi Al Zamalek” that will always stay with you, either because of its difficulty or because of a personal experience you had during filming?

The Nile and Zamalek. They reminded me of just how beautiful Egypt is and how stunning the locations where we filmed were.

It is actually the filming locations rather than the scenes themselves that will stay with me. I might forget certain scenes as the years go by, but I could never forget the scent of the Nile and its beauty.

Which role do you consider the real turning point in your artistic career, the one after which you felt that the audience's perception of you began to change?

Honestly, I have given Lebanese audiences many different characters throughout my career, particularly within the framework of motherhood. I have portrayed almost every type of mother, and I am proud of the journey I have built in Lebanon.

However, the role that became a real turning point because of its popularity across the Arab world was Hajja Doha in the series "2020," alongside the stars I love, Nadine Nassib Njeim and Qusai Khouli.

“2020” was a turning point because it brought Hajja Doha into Arab homes during the holy month of Ramadan. It was a major audience breakthrough, but it also reflected the artistic maturity I had reached, allowing me to portray such a character.

Her dialect was also quite close to Qusai Khouli's, as his character spoke in a Levantine dialect. I therefore developed a neutral dialect for Hajja Doha, bringing together Lebanese and Syrian elements.

That is the role I consider a turning point in my career, and I am grateful that Arab audiences welcomed me with so much love.

Margo in the series “Bil Haram” seemed different from many of the characters you had previously portrayed. What encouraged you to take on this role, and did the experience influence your artistic choices afterwards?

Margo is the character closest to my heart because she was a dream come true.

For some time, whenever producers offered me roles, I would tell them that I had already played every type of mother: the kind-hearted mother, the abusive mother and the protective mother. I felt that I had explored motherhood from almost every angle, and I wanted something different.

Then Margo came along, taking me far beyond the familiar boundaries of motherhood. She is a woman with personal struggles, emotionally broken and without anyone to support her. She turns to alcohol in an attempt to forget, but instead of forgetting, she becomes even more aware of her circumstances and more deeply human.

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She is also incredibly bold and outspoken. I completely fell in love with the character. For an actor, the opportunity to portray such a complex and challenging role, one that pushes you beyond your own limits and is nothing like you, is truly special.

I worked extensively with an acting coach, my daughter Tamara Hawi, who has postgraduate qualifications in actor training. We explored every little detail of the character together.

Another important part of the experience was working with the wonderful director Philip Asmar, with whom I share a great deal of trust. What matters most is having a director who believes in the performance and the character, allowing the actor to explore the role fully.

Initially, I was worried about how audiences would react to seeing me step away from the familiar motherly characters and portray a woman who goes against social expectations. However, my fears proved unfounded. Audiences want genuine acting and convincing performances. They understand the difference between an actor who transforms into a character and one who simply delivers a performance.

After Margo, I found myself wondering what I could possibly do next. I wanted a character even stronger than her.

For the first time in my entire career, I will not be participating in the Ramadan drama season this year. I am genuinely sorry not to be part of it, but Margo gave me an indescribable sense of artistic fulfilment. I no longer want to accept a role that feels less challenging than Margo.

However, I did break that personal promise when I travelled to Egypt to portray Greta. Although she was a guest role, she still required considerable preparation and effort. It was a lovely character and gave me the opportunity to participate in Egyptian drama.

I read many scripts afterwards, but none of them managed to attract me in the same way. Perhaps that means I am missing out on opportunities, but I am happy with my decision.

After years of working in theatre, television and cinema, how has your perspective on acting changed? What criteria do you now consider when choosing your roles?

From the very beginning of my career, I have always been careful and selective about the characters I portray. I have never liked taking the easy route or accepting a role simply for the sake of working. That has always been one of my main principles.

When an actor has an academic background and postgraduate-level training, particularly in a university environment where we study international theatre and its different forms, we develop the ability to approach our work on an international level.

I have always been, and remain, committed to choosing roles that require genuine effort, research and a properly developed dramatic structure.

In an industry where success is sometimes measured by views and online trends, how can actors maintain their artistic identity and deliver meaningful work without giving in to the pressure of popularity and fame?

I belong to a generation that does not concern itself with rapid popularity. I do not really follow the internet or pay attention to trends, although I have great respect for audiences everywhere, particularly Lebanese audiences.

I do not strive to become a trend. I believe that when you pursue something with genuine love and passion, the recognition you deserve will eventually come, regardless of the field you work in.

In one of your interviews, you dedicated your success to your father. What are the most important lessons he taught you that remain part of your personality and approach to work today?

My father, Khalil Kaady, planted in me a love for acting, as well as passion, sincerity, confidence, professionalism and humility. I inherited all of these qualities from him.

I always remember him and dedicate all my achievements to him, even my failures, because nobody succeeds all the time. What matters is that we always try to do the right thing.

That was one of my father's most important pieces of advice, and it remains close to my heart. His presence is always with me, and I carry his name, Randa Khalil Kaady.

What humanitarian or social issue would you like to explore through an artistic project, one that you feel has not received enough attention on screen?

I would love to explore the struggles faced by actors in Lebanon. It is an issue with many dimensions, particularly its human side.

Actors go through so many struggles and can experience considerable injustice. People often place them in a particular box and expect them to behave in a certain way, even though the reality may be completely different.

This issue is very personal to me because I am an actress, and I know how much happens behind the scenes and how unfairly actors can sometimes be treated. Their efforts are not always recognised or appreciated in every respect.

I wish someone would write about the suffering of artists and actors, because they are often accused of constantly changing their opinions, being insincere, or simply pretending. This is an issue that matters deeply to me.

Actors are members of society who happen to live under the spotlight, often without the privacy that others enjoy, especially nowadays. I believe this is an important issue that deserves to be addressed.

Following your experience in Egyptian drama, would you like to portray a fully Egyptian character, one who belongs to Egyptian society and reflects the details of everyday life? What would make such an experience different for you?

I do not yet have the confidence to portray a character who is originally Egyptian because I am very cautious about making mistakes. Every country has its own linguistic characteristics, accents, customs and traditions.

To truly embody an Egyptian character, I would need to live in Egypt for years before feeling confident enough to portray someone who is entirely Egyptian.

Nevertheless, working in Egyptian drama or cinema is a dream for every Arab artist. It is almost like receiving a medal of honour to have that experience in Egypt.

I would happily portray a foreign character who speaks Egyptian Arabic, whether she is Lebanese or another nationality living in Egypt. It is a wonderful dream and a remarkable experience. As the saying goes, once you have tasted honey, you cannot go back to eating something bitter!

Are there any types of roles you have never portrayed before but would love to explore in the next stage of your artistic career?

There are so many! I do not have one particular role in mind. I love being surprised by a complex character that challenges me and gives me something to work on until I can fully embody it.

I have not yet played a beggar or a homeless woman, for example. I love taking on any role that challenges and provokes me as an actress.

You are preparing to appear in the series “Mafia”. What can you reveal about the character you will be playing?

My character in “Mafia” is a mother, and the series will consist of 10 episodes.

I have returned to playing a mother, even though there were certain aspects of the role that made me break the promise I had made to myself. It is a simple character, and the series is really lovely.

The cast played a major part in my decision to accept the role. I wanted to be part of this team, and I had great confidence in the production, the director, and the actors, including Qusai Khouli, Razane Jammal, and Bassem Moughnieh. That is what ultimately made me break my promise.

Photo Credit: Randa Kaady’s official page

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