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This episode, we're celebrating a remarkable variety of theatre, from Ballet Black's 25th anniversary at Sadler's Wells to political intrigue in The Gang of Three, a thrilling musical reinvention of Thelma & Louise at the Young Vic, and a gripping newsroom drama starring Letitia Wright at the National Theatre. Ballet Black at 25 Founded by Cassa Pancho, the groundbreaking Ballet Black celebrates 25 years of championing dancers of Black and Asian descent with an extraordinary double bill. Mthuthuzeli November's Olivier Award-winning Ingoma, inspired by the 1946 South African miners' strike, returns alongside …all towards hope, a joyful new commission from acclaimed American choreographer Hope Boykin, making her UK choreographic debut. We explore how this remarkable company continues to challenge conventions, champion diverse voices and tell powerful stories through dance. The Gang of Three Politics, ambition and a fascinating glimpse behind the closed doors of Westminster. Written by Robert Khan and Tom Salinsky and directed by Kirsty Patrick Ward, The Gang of Three brings together three towering Labour politicians: Roy Jenkins, Denis Healey and Tony Crosland, whose friendships, rivalries and political ambitions helped shape modern Britain. Starring Hywel Morgan as Jenkins, Colin Tierney as Healey and Alan Cox as Crosland, this sharp, witty political drama explores loyalty, ideology and the compromises made in the pursuit of power. Thelma & Louise Buckle up! The iconic 1991 road movie becomes a brand-new musical at the Young Vic. Amy Lennox stars as Thelma alongside Rachel Tucker as Louise, with Jordan Luke Gage as JD and Trevor Dion Nicholas as Hal. Reimagined for the stage by the film's original Oscar-winning screenwriter Callie Khouri, with music and lyrics by Neko Case and direction by Trip Cullman, this exhilarating musical celebrates female friendship, freedom and rebellion against a world determined to hold women back. We discuss the powerhouse performances, the new score and whether this much-loved cinematic classic finds a fresh life on stage. The Story Letitia Wright, best known for Marvel's Black Panther, makes her National Theatre debut in The Story, a compelling newsroom thriller by Tracey Scott Wilson, directed by Clint Dyer. When a white teacher is murdered in a Black neighbourhood, an ambitious young journalist sees an opportunity to break a career-defining story. But as the investigation unfolds, questions of race, truth, journalistic integrity and personal ambition become increasingly tangled. With a formidable cast including Lorraine Toussaint, Ashley Thomas, Aliyah Odoffin and Wilf Scolding, this thought-provoking drama examines the stories we choose to tell, the truths we overlook and the price of getting ahead. From Ballet Black's extraordinary legacy to Westminster power struggles, a rebellious American road trip and the murky ethics of journalism, this episode explores the people who challenge the establishment - and those determined to control the narrative. Four productions. Powerful stories. And some truly exceptional talent. Hosted on Acast. See acast.com/privacy for more information.

This episode, we're joined by the wonderfully inventive Tim Crouch - award-winning playwright, director, performer and one of British theatre's most original voices. From My Arm and The Author to I, Malvolio, An Oak Tree and Truth's a Dog Must to Kennel, Tim has spent his career questioning what theatre is, how stories are told and the extraordinary relationship between performer and audience. At the heart of our conversation is his groundbreaking play An Oak Tree, a theatrical experiment in which a different guest actor takes to the stage at every performance, having neither seen nor read the script beforehand. It's an extraordinary exploration of grief, suggestion, imagination and the unpredictable magic of live performance. We explore Tim's unconventional approach to storytelling, his fascination with the audience's imagination, the risks of surrendering control and why uncertainty can be one of theatre's greatest strengths. Thought-provoking, playful and refreshingly unconventional, this is a conversation about creativity, trust and the wonderfully strange things that happen when performers and audiences share a room. Because with Tim Crouch, theatre isn't simply something you watch. It's something you help create. Hosted on Acast. See acast.com/privacy for more information.

This episode, we're travelling from the Royal Court Theatre's exciting launch of The Afronauts to the bruising world of Golden Boy, before turning up the volume with Million Dollar Quartet. It's an episode packed with theatrical ambition, extraordinary performances, musical legends and stories about people determined to follow their dreams - whatever the cost. The Afronauts - Royal Court Theatre Launch Party & Cast Reveal We're at the Royal Court Theatre for a special launch party and cast reveal for The Afronauts, an intriguing new production that promises to take audiences on a journey beyond the ordinary. Natalie catches a moment with the writer and co-directors Ryan Calais Cameron and Monique Touko and actor Lucian Msamati. We bring you a flavour of the celebrations, the excitement surrounding the announcement and a first look at the company bringing this ambitious new work to the stage. Golden Boy Josh O'Connor steps into the ring in Golden Boy, Clifford Odets' powerful drama about a gifted young violinist who abandons his musical ambitions for the potentially lucrative but brutal world of professional boxing. It's a story about ambition, identity, family expectations and the sacrifices we make in pursuit of success. O'Connor delivers an intensely physical performance, while Hayley Squires is a particular standout in a production that finds ingenious theatrical ways to bring the violence of boxing to life - without needing to stage a conventional fight. We discuss the clever use of a suspended punchbag, the extraordinary contribution of lighting and sound, and whether the production lands its emotional punches as convincingly as its physical ones. Million Dollar Quartet And finally, we're heading back to the birth of rock ’n’ roll! Million Dollar Quartet celebrates the legendary 1956 recording session at Sun Records in Memphis that brought together four extraordinary musicians: Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins. Packed with iconic hits, infectious energy and a fascinating glimpse into music history, this jukebox musical recreates the night four future legends found themselves together in one recording studio. We discuss the performances, the musicianship and the irresistible appeal of hearing some of rock ’n’ roll's greatest songs performed live on stage. From the promise of new theatre at the Royal Court to Josh O'Connor's bruising battle between art and ambition, and four musical legends making history in Memphis, it's another wonderfully varied week at Theatre Audience Podcast. Three productions. Big ambitions. And plenty of star power. Hosted on Acast. See acast.com/privacy for more information.

This episode, we're covering four very different theatrical experiences, from an exclusive press-junket sneak peek at legendary lyricist Don Black's West End celebration From the Heart to a bold reimagining of Molière's Tartuffe, the provocative intimacy of Jerker, and Noël Coward's gloriously chaotic comedy Hay Fever. It's an episode packed with theatrical royalty, wicked humour, unexpected tenderness and some wonderfully questionable behaviour. Don Black's From the Heart - Press Junket Sneak Peek We kick things off with a special behind-the-scenes visit to the press junket for Don Black's From the Heart, returning to the Garrick Theatre. Celebrating the extraordinary career of Oscar-winning lyricist Don Black, the show brings together much-loved classics from Sunset Boulevard, Aspects of Love and the James Bond films, alongside brand-new material. Featuring Clive Rowe, Caroline O'Connor, Michael D. Xavier, Shona McGarty and Frances Mayli McCann, this promises to be a celebration of one of musical theatre's greatest lyricists. We share a sneak peek at what's in store. Tartuffe (Remixed) Mark Rylance returns to the stage as the deliciously manipulative Pastor Blake in Tartuffe (Remixed), a vibrant reinvention of Molière's classic comedy. Adapted and directed by Darren Raymond, the action moves into a contemporary Nigerian–Jamaican household where family loyalties, religion and an impending wedding collide with one very convincing con artist. With Usifu Jalloh, Nakeba Buchanan, Suzette Llewellyn and Sara Mokonen among the terrific company, this is a bold, funny and surprisingly moving retelling. We discuss Rylance's remarkable ability to disappear into a character and why this 17th-century story about hypocrisy, greed and gullibility feels so wonderfully relevant today. Jerker Provocative, explicit and unexpectedly tender, Jerker by Robert Chesley returns in a 40th-anniversary production directed by Henry Adams. Set in 1980s America against the emerging AIDS crisis, two men begin a relationship through a series of increasingly intimate telephone conversations. Paul Dennison and James Lee play strangers whose sexual fantasies gradually reveal something far more vulnerable and deeply human. We explore how a play that initially appears to be about sex becomes a moving examination of connection, loneliness and queer history. Hay Fever And finally, theatrical royalty behaving very badly! Christine Baranski makes her West End debut opposite Richard E. Grant in Noël Coward's gloriously mischievous Hay Fever, directed by Emily Burns. Baranski plays the outrageously theatrical Judith Bliss, with Grant as her novelist husband David. Joined by Ophelia Lovibond, Will Close, Nancy Carroll and Charles Edwards, the wonderfully self-absorbed Bliss family and their unfortunate house guests embark on a weekend of flirtation, social embarrassment and spectacularly bad manners. We discuss whether Coward's century-old comedy still has the power to delight, and what happens when two major stars share the stage with an ensemble of accomplished comic performers. From Don Black's timeless lyrics and Mark Rylance's masterful deception to intimate late-night phone calls and Christine Baranski causing chaos in the country, it's another gloriously varied week at Theatre Audience Podcast. Four productions. Some extraordinary performers. And absolutely no shortage of drama. Hosted on Acast. See acast.com/privacy for more information.

What if one of theatre’s most famous female characters was inspired by a real woman whose own voice was subsequently pushed into the margins? In this episode, we’re joined by Kirsten Shepherd, Professor of English and Theatre Studies at the University of Oxford and leading Ibsen scholar, to uncover the remarkable story of Laura Kieler - the writer and friend of Henrik Ibsen whose personal experiences were transformed into the story of Nora in A Doll’s House, without her knowledge or permission. Kirsten’s research lies at the heart of Breach Theatre’s new production Burning Down the House, which brings Laura out of the footnotes and places her centre stage. We discuss Ibsen’s complicated legacy, the ethics of turning real lives into art, the silencing of women in literary history, and whether knowing Laura’s story changes the way we view A Doll’s House today. We also discover how Laura attempted to reclaim her own narrative through Men of Honour, the play she wrote in response to Ibsen’s actions, now being presented in English for the first time. A fascinating conversation about authorship, appropriation, feminism and who gets to tell our stories - and what happens when the person whose story has been taken finally gets to speak. Hosted on Acast. See acast.com/privacy for more information.

This episode, we’re covering four wildly different theatrical experiences: a double bill of opera at Charing Cross Theatre, Noël Coward served with afternoon tea at Theatre Royal Drury Lane, an Agatha Christie mystery at the Mill at Sonning, and the gloriously outrageous Deep-Heat Rivalry at The Other Palace. The Human Voice / The Seven Deadly Sins One woman, two operas and two very different journeys. Charing Cross Theatre brings together The Human Voice and The Seven Deadly Sins in a fascinating double bill exploring women pushed to their emotional limits. Francis Poulenc and Jean Cocteau’s The Human Voice unfolds through a single devastating telephone conversation as a woman speaks to her former lover for what may be the final time. It’s paired with Kurt Weill and Bertolt Brecht’s The Seven Deadly Sins, a biting satire infused with Weimar cabaret and American jazz, in which Anna is divided into two halves of the same soul and sent across America to earn enough money to build her family a home. We discuss two very different musical worlds brought together to create one intriguing psychological portrait. Still Life Before there was Brief Encounter, there was Noël Coward’s Still Life. Theatre Royal Drury Lane’s magnificent Grand Saloon is transformed into the refreshment room at Milford Junction station for an intimate, immersive production directed by Tam Williams. With afternoon tea served as part of the experience, the audience sits inside Coward’s world as Rachel Pickup and Alasdair Craig play Laura and Alec, two married strangers whose chance meeting develops into an intensely restrained love affair. Supported by Elizabeth Elvin, Antony Jardine and Seren Sandham-Davies, with music performed live by the company, this is Coward served with tea, sandwiches, longing and heartbreak. We discuss whether placing the audience right inside this quintessentially British love story makes its famous emotional restraint even more powerful. The Mirror Crack’d There’s been a murder in St Mary Mead - which can only mean one thing: Miss Marple is on the case. Liza Goddard takes on Agatha Christie’s legendary detective in The Mirror Crack’d at the Mill at Sonning, adapted for the stage by Rachel Wagstaff. When Hollywood star Marina Gregg arrives in the village and throws a glamorous party at Gossington Hall, the celebrations end in murder. Secrets emerge, suspects multiply and Miss Marple begins piecing together what really happened. We discuss Goddard’s interpretation of Miss Marple, Sara Crowe’s turn as fading Hollywood star Marina Gregg, and a production directed by Jonathan O’Boyle that left us with plenty to talk about. Deep-Heat Rivalry And then things get hot. Very hot. Deep-Heat Rivalry at The Other Palace takes the world of professional ice hockey, adds forbidden romance, powerhouse vocals, Shakespeare, tiny towels and an impressive quantity of innuendo - while proudly admitting to having absolutely no understanding of sport. Written and directed by Trevor Ashley, the outrageous parody follows hockey superstars Shane Hollandaise and Ilya Stroganoff, sworn rivals who discover that all that aggression might actually be disguising something considerably steamier. Sario Solomon brings enormous charm and vulnerability to Hollandaise, while Jason Leigh Winter knows exactly what he’s doing from the moment Stroganoff makes his deliciously sultry entrance. Diana Vickers lets rip as The Diva, delivering powerhouse vocals and fearless comedy, while Ross Chisari as Puck provides narration, Shakespeare and some scene-stealing one-liners. Filthy, ridiculous, unapologetically queer and enormous fun, we discuss why Deep-Heat Rivalry might just be one of the best Saturday nights out in London. From Poulenc and Brecht to Christie and Coward - before ending with sweaty hockey players ripping each other’s clothes off - you really can’t accuse us of lacking variety this episode. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we sit down with Freddie Opoku-Addaie, Artistic Director & Co-CEO of Dance Umbrella, London’s annual international contemporary dance festival. Freddie takes us through his journey from performer and choreographer to artistic leadership, reflecting on the experiences that shaped his creative voice and what changes when an artist becomes the person making decisions about whose work reaches an audience. We explore what he looks for when programming Dance Umbrella, the responsibility of championing new and underrepresented choreographic voices, how we can broaden our understanding of what contemporary dance can be, and the ongoing challenge of making dance genuinely accessible to wider audiences. Freddie also takes us inside Dance Umbrella Festival 2026, running across London and online this October. This year’s international programme brings together artists including Mamela Nyamza, Akram Khan, Omar Rajeh, Poliana Lima, Yinka Esi Graves, Arno Schuitemaker, Jack Anderson, Charlotte Mclean and Malin Lewis, with work exploring cultural inheritance, identity, community and the joy of gathering together through movement.  A warm and wide-ranging conversation about dance, artistic identity, representation, leadership - and what it means to create space for the next generation of artists. Hosted on Acast. See acast.com/privacy for more information.

This episode, we’re tackling three wildly different theatrical experiences: the bonkers horror-comedy of Crybabies: The Scaring at Soho Theatre, the musical adaptation of Charlotte Brontë’s Jane Eyre at Southwark Playhouse, and Tilda Swinton’s remarkable return to the stage in Man to Man at the Royal Court Theatre. Crybabies: The Scaring Genuinely scary one minute and completely ridiculous the next, The Scaring proves exactly why comedy trio Crybabiesbecame such a hit at the Edinburgh Fringe. Directed by Jon Brittain, this fast-paced horror-comedy sees the trio transform themselves into a gloriously chaotic collection of characters as an increasingly bonkers story unfolds. It’s inventive, unpredictable and performed with the kind of chemistry that comes from three comedians completely trusting one another - even when everything around them descends into madness. We discuss the joy of watching performers commit wholeheartedly to the absurd, how successfully the production jumps between laughs and genuine scares, and why this Fringe favourite feels right at home at Soho Theatre. Jane Eyre: The Musical Charlotte Brontë’s literary classic gets the musical treatment at Southwark Playhouse in an ambitious new production with a book by John Caird and music and lyrics by Paul Gordon, directed by Caird alongside Megan McGinnis. There are definite echoes of Les Misérables in this sweeping retelling of Jane’s journey from a difficult childhood to her complicated relationship with Mr Rochester. Charlie Burn confidently leads a terrific ensemble as Jane, but one of the evening’s great discoveries is Emily-Rose Samuel, making her professional stage debut and proving utterly captivating as both young Jane and Adèle. We discuss the production’s strong performances, effective design and score, while asking whether trying to include quite so much of Brontë’s enormous story ultimately weighs the musical down. It’s beautifully staged - but could a little less Jane Eyre actually have given us more? Man to Man And finally, one of the theatrical events of the year. Tilda Swinton returns to the Royal Court in Man to Man, Manfred Karge’s extraordinary play translated by Anthony Vivis and revised by Stephen Unwin. From curtain up to curtain down, Swinton never leaves the stage. Surrounded by the props of the production inside Bunny Christie’s stark, brilliantly illuminated white box, there is nowhere for the performer to hide - and nowhere else for the audience to look. The result is an astonishingly exposed performance, filled with surreal theatrical choices, moments of complete stillness and an extraordinary connection between Swinton and her audience. We discuss her ability to actively listen to a room, the moments where actor and character seem almost to blur together, and a performance that deservedly brought the audience to its feet. With lighting by Ben Ormerod and the creative team reunited for this landmark revival as part of the Royal Court’s 70th anniversary season, Man to Man becomes more than simply an opportunity to see a major screen star on stage. It’s a reminder of what an exceptional theatrical performer Tilda Swinton is. And in a rare Theatre Audience Podcast occurrence, Darren and Natalie actually saw this one together - so they compared notes on an unforgettable night at the Royal Court. Three shows. Three completely different theatrical languages. From screams and silliness to Brontë and Swinton, there’s plenty to unpack. Hosted on Acast. See acast.com/privacy for more information.

The former Royal Ballet Principal joins us to talk about an extraordinary life in dance, leaving the stage behind and his vision for the future as Artistic Director of the Royal Academy of Dance. In this special In Conversation episode, Darren sits down with Alexander Campbell, Artistic Director of the Royal Academy of Dance, to explore a remarkable career that has taken him from a young dancer growing up in Sydney to the very highest levels of classical ballet. Alexander reflects on discovering dance, training at The Royal Ballet School and joining Birmingham Royal Ballet before returning to The Royal Ballet, where he rose through the company to become a Principal dancer in 2016. But what does it really take to sustain a career at that level? Alexander talks candidly about the discipline and pressures behind the apparent effortlessness audiences see on stage, the roles and performances that have stayed with him, and the enormous transition that comes when a dancer decides it's time to step away from performing. Now, as Artistic Director of the Royal Academy of Dance, Alexander is looking firmly towards the future. We discuss his ambitions for the organisation, nurturing the next generation of dancers, widening access to dance and how ballet can continue to evolve while respecting the traditions that have shaped it. It's a warm and insightful conversation about ambition, artistry, leadership and reinvention - and, above all, a lifelong love of dance. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we’re joined by Carine and Frances Gilbert - The Gilbert Twins - identical twins, comedians, writers and content creators who have built an online audience of more than three million followers. After creating hundreds of viral comedy sketches, the twins are returning to their musical theatre roots with Under the Influence, their original musical comedy co-written with Shona Maule. Following a critically acclaimed run at the Edinburgh Festival Fringe, the show has now transferred to London’s King’s Head Theatre.  And the inspiration behind it? They really did go to couples therapy together. We chat to Carine and Frances about what led two sisters into couples therapy, turning that very personal experience into comedy, and the strange reality of building a career around the relationship you’re simultaneously trying to understand. They open up about co-dependency, sisterhood and finding an individual identity when the world has always viewed them as a pair. We also explore the pressures of having millions of people watching online, the leap from 60-second sketches to telling a story on stage, writing about each other without destroying the relationship, and what Edinburgh audiences taught them about their own show. Plus, we discover whether there are limits to what they're prepared to reveal about one another - and ask the rather terrifying question: what happens if one twin gets the dream opportunity and the other one isn't invited? A funny, candid and wonderfully chaotic conversation about twinhood, therapy, social media, musical theatre and finding your own voice when you've spent your entire life sharing one. Hosted on Acast. See acast.com/privacy for more information.

This episode, we travel from the wonderfully ridiculous world of P.G. Wodehouse to the glamour, tragedy and conspiracy surrounding Marilyn Monroe. We review Jeeves Takes Charge at Charing Cross Theatre and Who Killed Marilyn? at the Emerald Theatre: two productions exploring famous characters and cultural icons in very different ways. Jeeves Takes Charge The unmistakable world of P.G. Wodehouse comes to the stage in Jeeves Takes Charge, bringing with it the hapless Bertie Wooster, his extraordinarily capable valet Jeeves and all the misunderstandings, social disasters and gloriously silly situations that inevitably follow them. At the centre of it all is Sam Harrison, taking on the extraordinary challenge of playing all 22 of P.G. Wodehouse’s much-loved characters himself - from Jeeves and Bertie Wooster to Florence Craye, Gussie Fink-Nottle, Bingo Little, Uncle Willoughby and Aunt Dahlia. It’s a one-man comic juggling act requiring lightning-fast character changes, impeccable timing and seemingly endless energy. At Charing Cross Theatre, we enter a world of impeccable manners, eccentric characters and quintessentially British comedy as Jeeves once again attempts to rescue Bertie from his own spectacularly questionable decision-making. We discuss whether Wodehouse's much-loved humour translates successfully to the stage, the joy of watching Jeeves remain several steps ahead of everyone around him and whether there's still an audience for this delightfully old-fashioned world of troublesome relatives, romantic entanglements and upper-class chaos. Who Killed Marilyn? Over at the Emerald Theatre, Who Killed Marilyn? attempts to uncover the mystery surrounding the death of one of the most famous women of the twentieth century. Pixie Lott takes on Marilyn Monroe in Sharleen Cooper Cohen's play, which explores the theory that Marilyn's relationships with the Kennedy family and connections to organised crime may have played a part in her death. At the centre of the story is Marilyn's hidden notebook, containing her private thoughts, poetry and potentially dangerous secrets shared by some very powerful men. But does the production reveal the complicated woman beneath the famous image? We discuss Lott's performance, the frustrating decision to give a singer of her ability so little opportunity to sing and a production that too often presents its supporting characters as broad caricatures. There are welcome exceptions, particularly Julie Armstrong as Marilyn's troubled housekeeper and keeper of secrets, Eunice, alongside Benjamin Dilloway as Arthur Miller and Paul Kane as Robert Kennedy. There's an intriguing conspiracy thriller somewhere inside Who Killed Marilyn?, but we ask whether the production digs deeply enough into Marilyn herself - the intelligent, witty, ambitious and politically curious woman behind that instantly recognisable breathy voice and Hollywood image. From Jeeves quietly cleaning up Bertie Wooster's latest catastrophe to Marilyn Monroe becoming entangled with some of America's most powerful men, it's an episode filled with famous names, secrets, scandal and people desperately trying to keep trouble behind closed doors. Hosted on Acast. See acast.com/privacy for more information.

Our Edinburgh Fringe reviewer Franki Rameaux joins us for a special Theatre Audience Podcast round-up, bringing back her verdict on some of the shows that caught her attention at this year's festival. The Edinburgh Festival Fringe is where theatre gets to take risks. New writing meets experimental performance, musicals emerge from the most unexpected places, artists test bold ideas in tiny rooms and audiences take chances on shows they might never encounter anywhere else. And with thousands of productions competing for attention, sometimes the real joy is discovering something you knew absolutely nothing about before walking through the door. Franki certainly put in the miles this year, seeing a huge range of work across the Fringe. In this episode, we focus on seven productions: See You Tomorrow, HAM, Belly, January 6th: The Musical, Bodytrapped, Under the Influence and Bliss. From intimate storytelling and provocative new writing to comedy, music and performances tackling identity, politics and the pressures of contemporary life, it's an eclectic snapshot of exactly what makes Edinburgh such an exciting - and occasionally unpredictable - place to experience theatre. What surprised her? What stayed with her? Which productions deserve a life beyond Edinburgh? And, most importantly, which shows would she tell you to book if you had the chance? Join Franki and the Theatre Audience Podcast team as we unpack the highs, discoveries and talking points from another gloriously packed Edinburgh Festival Fringe. Seven shows. Seven very different experiences. Welcome to our Edinburgh Fringe Round-Up. Hosted on Acast. See acast.com/privacy for more information.

This episode, we journey from the supernatural world of a Japanese manga phenomenon to one of America’s most notorious murder mysteries, before gathering under the Jellicle moon for a bold new production of a musical theatre classic. We review Death Note: The Musical at the Barbican, the true-crime musical Bury the Hatchet at Southwark Playhouse and Andrew Lloyd Webber’s CATS, reimagined for the magical outdoor setting of Regent’s Park Open Air Theatre. Death Note: The Musical The globally successful manga thriller comes to the London stage in an exhilarating new musical. When brilliant student Light Yagami discovers a mysterious notebook that gives him the power to decide who lives and who dies, his determination to create a better society quickly descends into obsession. His actions attract the attention of the brilliant and elusive detective L, beginning an increasingly dangerous battle of intellect, justice and morality. Created in collaboration with the original Japanese producers HoriPro, the musical features a score by Frank Wildhorn, lyrics by Jack Murphy and a book by Ivan Menchell. Bury the Hatchet On 4 August 1892, Andrew and Abby Borden were brutally murdered in their Massachusetts home. Andrew’s daughter, Lizzie Borden, became the prime suspect - but was she really responsible for one of history’s most infamous crimes? A spirited company of three actor-musicians re-examines the case through a lively mixture of true crime, courtroom drama, dark comedy and live folk music. Familiar bluegrass songs, irreverent commentary and sharply performed storytelling give the legendary tale a fresh and thought-provoking theatrical twist. CATS Andrew Lloyd Webber’s global musical sensation receives a bold new production in the magical surroundings of Regent’s Park Open Air Theatre. Inspired by T.S. Eliot’s *Old Possum’s Book of Practical Cats*, this reimagining brings together the strays and rebels of London beneath the Jellicle moon. Each hopes to be chosen for a new life as they introduce themselves through some of musical theatre’s most famous songs, including Macavity: The Mystery Cat**, Jellicle Ball** and the chart-topping Memory. Directed and choreographed by Regent’s Park Open Air Theatre Artistic Director Drew McOnie, this fresh take on CATS promises to be one of the major theatrical events of 2026. Hosted on Acast. See acast.com/privacy for more information.

This episode, we're reviewing two wildly different shows with one thing very much in common: relationships heading spectacularly off the rails. Natalie and Darren experience Matthew Bourne's seductive dance thriller The Car Man, while Hot Mess turns the entire relationship between Earth and Humanity into one brilliantly funny, pop-fuelled musical romcom. The Car Man Matthew Bourne's The Car Man roars back onto the stage with its intoxicating mix of dance, desire, jealousy and murder. Loosely inspired by Bizet's Carmen, Bourne relocates the action to a hot and claustrophobic 1960s American town, where the arrival of handsome stranger Luca sends passions spiralling dangerously out of control. Ashley Shaw is electric as femme fatale Lana, opposite Will Bozier as her doomed lover Luca, leading an exceptionally talented New Adventures ensemble through Bourne's unmistakable blend of cinematic storytelling and thrilling choreography. Darren and Natalie discuss the extraordinary chemistry of the company, the production's sensuality and how Bourne takes the familiar DNA of Carmen and transforms it into something entirely his own. Dark, sexy and deliciously dangerous, The Car Man is another reminder of why Matthew Bourne remains one of British theatre's great storytellers. Hot Mess After a billion years of bad dates, Earth has finally found the one: Humanity. What could possibly go wrong? Quite a lot, as it turns out. Created by the award-winning team behind 42 Balloons, Hot Mess features music and lyrics by Jack Godfrey and a book and direction by Ellie Coote. This hugely entertaining new British musical transforms the climate crisis into a love story between Earth and Humanity - complete with attraction, arguments, break-ups and some seriously catchy pop songs. Danielle Steers is sensational as Earth, with Morgan Gregory bringing enormous charm to Humanity as their passionate relationship gradually becomes, well... a hot mess. But underneath the laughs is something surprisingly thoughtful. The environmental message never feels preachy, instead using comedy to explore what could happen if Humanity continues taking Earth for granted. We discuss why theatre is such a powerful place to tell stories about the climate crisis, the show's ingenious staging, its infectious score and an ending that's worth the ticket price alone. Funny, clever, informative and bursting with originality, Hot Mess confirms Jack Godfrey and Ellie Coote as two exciting voices in new British musical theatre. Plus, we're playing Let It Out from Hot Mess during the episode. Two shows about irresistible attraction, destructive relationships and what happens when desire gets seriously out of control. One involves murder. The other could involve the end of the planet. No pressure. Hosted on Acast. See acast.com/privacy for more information.

This episode, we're talking audience participation, legendary music and two productions that couldn't be more different. Darren heads to the Mill at Sonning for the interactive comedy phenomenon Shear Madness, while Natalie and Darren take their seats for Sinatra: The Musical, a stylish new portrait of one of the twentieth century's greatest entertainers. Shear Madness Can you solve a murder before the cast does? The international comedy sensation Shear Madness arrives at the Mill at Sonning, bringing with it a unique blend of murder mystery, improvisation and audience participation. Set inside the delightfully chaotic Shear Madness hair salon, an ordinary day quickly descends into murder, mayhem and outrageous comedy as everyone becomes a suspect—and it's up to the audience to crack the case. No two performances are ever the same, with each audience shaping the investigation and deciding how the story unfolds. Darren discusses why the show's improvisation is its greatest strength, the joy of returning knowing the experience will be completely different, and how the intimate setting of the Mill at Sonning makes audiences feel part of the action from the moment they walk through the doors. We also celebrate a brilliantly committed cast, including Daniel Cane, whose comic timing as Tony Whircomb is a standout, Rosaleen Burton's superb control of the audience, and Natalie Ogle, who gamely endures a live hair wash every performance. Directed by Sally Hughes, with Alex Marker's wonderfully detailed fully functioning salon set, this is a hilarious evening of theatre where the audience truly becomes part of the show. Sinatra: The Musical One voice changed popular music forever… but who was the man behind the legend? Sinatra: The Musical charts the extraordinary life and career of Frank Sinatra through more than twenty of his greatest songs, including That's Life, One For My Baby, The Best Is Yet to Come and I've Got the World on a String. Joel Harper-Jackson delivers a charismatic performance as Sinatra, joined by Ana Villafañe as Hollywood icon Ava Gardner and Phoebe Panaretos as Nancy Sinatra. Directed and choreographed by Kathleen Marshall, with a book by Joe DiPietro, the production combines live music, stylish choreography and timeless classics to explore the triumphs and personal struggles behind one of entertainment's biggest stars. Natalie and Darren reflect on the performances, the thrill of hearing Sinatra's iconic catalogue performed live by a full band, and whether the show fully captures the darker complexities of the man behind the music. Plus, don't leave your seat too quickly - the post-curtain call surprise is well worth staying for. From solving murders to singing classics, this week's episode celebrates two productions that remind us theatre is at its best when it brings audiences right into the heart of the story. Hosted on Acast. See acast.com/privacy for more information.