When you grow up with music all around you, it generates a certain resonance that feels both natural and planned, as if the air itself is humming a tune. That link in Julia Totoszko’s case started to form even before most people knew the name. Singing was more of a family rhythm than an activity for her from the start. Her mother, Marta Smuk, taught her in small, soothing pieces, and as she got older, it became more expressive.
Her parents were both great vocalists, and they provided her a foundation that seemed to be easy to maintain but was actually meticulously built when you looked more closely. In early childhood pictures, you can see her sitting between her parents on a couch with her eyes wide open as they turn a simple nursery rhyme into something very obvious and profound. It was more than just play; it was early training in breathing and nuance, listening and responding, and the conviction that performance might be an extension of oneself.
Julia Totoszko – Bio, Career & Family
| Category | Information |
|---|---|
| Full Name | Julia Totoszko |
| Born | 2006 |
| Nationality | Polish |
| Occupations | Vocalist, Dancer, Child Actress |
| Parents | Marta Smuk (mother, vocalist), Mariusz Totoszko (father, vocalist) |
| Stepfather | Krzysztof Szmidt (Navy soldier, raised Julia) |
| Siblings | Hugo Szmidt, Róża Szmidt (mother’s side), Zofia Totoszko (father’s side) |
| Stage Debut | Age 3, Musical Theatre in Gdynia, Fiddler on the Roof |
| Notable Roles | Fiona in Shrek, Wendy in Peter Pan |
| Film Debut | Kochaj (role: little Anka) |
| Awards/Nominations | Young Talent nomination, Wings of the Tricity (2016) |
| Dance | Ballroom classes with tournament success |
| Reference Link |
At the Musical Theatre in Gdynia, she made her theatrical debut as young Haveli in Fiddler on the Roof when she was three years old. It was one of those early stages of skill where you mostly only remember a few things, like how the lights, costumes, and shouts made you feel. But for Julia, the event felt like it had a deeper meaning. It made her feel excited and like she belonged somewhere, which made her think that bigger things were possible.
Her parents were strict but also let her have fun. Her stepfather, Krzysztof Szmidt, a Navy soldier, made sure that routines didn’t get too out of hand with songbooks and practice schedules. Stability and creativity seemed to have come together, like the strands of a braid. One encouraged exploration while the other gave it certainty.
When she was five, she played Fiona in Shrek, a role that required both singing and acting skills. When the chorus started, she swayed back and forth, and when the drama started, she seemed quietly focused. This showed that she was more comfortable with how performances worked than most of her classmates, even then. During one dress rehearsal, there was a certain beat when she tilted slightly on a high note. I could tell by her face that she wasn’t just following instructions; she was starting to take control of the scenario.
These first plays were already setting the stage for a bigger project. At ten, she portrayed Wendy in Janusz Čzefowicz’s Peter Pan. This role required her to be committed to the story, have a wide range of emotions, and be able to sing clearly. The performance not only drew attention, but it also showed a unique mix of artistic depth and maturity that made critics nod in admiration and fans smile.
Julia’s ascension was gradual and shaped by arc after arc, not by chance or unanticipated virality. She became more well-known when she was nine years old and won a spot on Natalia Lesz’s “Tytani” team in the Little Giants talent show. There, she showed off her singing skills with grace. The performer got better at playing their instrument and more confident with each episode. Not only were many people surprised by how well she played, but also by how easily she did it emotionally, as if it had always been a part of her vocabulary.
One afternoon after a really hard rehearsal, her mother remarked about how music had brought their family closer together. “It wasn’t about pressure,” she said again and again. Instead, the focus was on purpose—helping Julia in a way that made her want to be there and reminded her of how good it feels to share something important with others. I thought that talk was proof of how supportive and deeply caring family can be. It was both serious and insightful.
Singing was only one part of her craft navigating. Ballroom dance was another part of her artistic identity. She learned how to move in time with music and how to do graceful things with athletic accuracy in those classes. When you watch her dance, it’s clear that rhythm becomes a part of her body’s consciousness. Each glide and pivot seems to be directed by a deeper sense of intelligence.
Her portrayal as young Anka in Kochaj, her first movie, helped her artistic growth even more. When you act for the camera, you need to be more soft than when you’re on stage. You need to go away from the physical distance of the theater and toward more intimate expression instead of big motions. She showed a sensitivity that was both surprising and very emotional in that space between theatricality and cinematic delicacy.
It didn’t take long for people to notice. Her nomination for the Wings of the Tricity Young Talent award in 2016 recognized both her accomplishments and her unwavering commitment to many fields. It seemed like every part of her training—acting, dancing, and singing—was getting better and tighter, making a mosaic that felt perfectly balanced.
Julia’s path has been more like an artisanal skill than a rapid jump. Each change has been small and delicate, like a violinist tuning each string to make a beautiful sound. Her parents are like experienced conductors in that they are always there, aware of her potential, and quietly confident in it.
But her painting shows that she has a lot of emotional intelligence in addition to her technical skills. She doesn’t just play notes and sequences; she embraces them. What often sets a young talent apart from other budding artists is their ability to show their intentions with every word and action.
You can see this knowledge in her ambitions. She has said that she wants to do what her mother does for a living and that she likes the creative side of it. Her ambition to be a part of musical theater doesn’t feel like a goal she’s already reached; it feels more like a destination she’s always known about but never been there.
Zofia, Róża, and Hugo, her siblings, are a realistic counterbalance to her artistic expression. including limelight moments, things that keep her grounded, including family dinners, shared routines, and fun sibling competitions in dancing or singing, also help her grow as a person. They are a reminder to her that joy, perspective, and distance are the three things that help talent the most.
