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Sunday 27th September 2026 marks the 20th anniversary of Wicked in the West End. The magical untold story of infamous witches of Oz has helped teach audiences about the power of acceptance, defying expectations and understanding that we’re all deserve our chance to fly. Now, two decades later and over 7,500 performances later, the responsibility to tell this falls to two young actors helping to usher in a new era and put their mark on these infamous leading characters.  Direct from their dressing room just days before the official 20th anniversary celebrations, Elphaba and Glinda reflect on the “honour” of leading this historic company of Wicked, and why they just “couldn’t imagine doing the show with anybody else” but each other. We also explore the power of stepping into a huge role like Elphaba and why you’re honouring what came before – without losing your own magic – and why it’s never been about being anybody other than yourself.  We celebrate the joy of the original Broadway cast album with Idina and Kristin’s voices, including how that inspired them both as young performers, and why you have to learn to welcome and accept the pressures of singing a score that means so much to audiences . And we explore the joys of a British accent – something that remains singular to the London production – the power of the Oz Dust Ballroom scene and how it remains both of their favourite moments to perform together each show, and how the power of acceptance within this story penetrates into their own lives outside of the theatre. Plus, the relevance of a story that highlights political injustice, their collective frustrations at the lack of positive attitudes towards the phrasing of witch and what it’s like singing this score – and performing that act one closer – eight times every week. “It’s a show that reflects society by showing people themselves on stage.” Host: William J Connolly Produced by: William J Connolly/Darren Bell wickedthemusical.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

She’s the Tony-nominated and Drama Desk-winning playwright and screenwriter of Wicked who brought the magic of Oz to life through her thrillifying storytelling of its two most famous witches – both on stage with the musical and through the recent two-part blockbuster movies. To mark 20 years of Wicked in the West End and her remarkable adaptation for the stage – which has welcomed more than 13 million people to over 7,500 performances in London alone – we take flight to celebrate two decades at the Apollo Victoria Theatre. Direct from her home Stateside, it’s congratulotions all round as she shares wonderful memories of reuniting with her original creatives once again to begin their West End journey back in 2006 and how she sprinkled hidden gems of the original 1939 The Wizard of Oz movie into her musical script and how Gregory Maguire’s original novel, which kick-started this new chapter, inspired this smash-hit show we all love She also walks through the origins of some of her favourite lines in the show, how she built signature scenes around key character arcs for her leading ladies, and her tight collaboration with Wicked’s music writer, Stephen Schwartz. Plus, the joy of having her work translated into different languages and cultures across the last two decades, the key plot throughline of the spoken dialogue – “It’s not lying, it’s looking at things another way” – and why Wicked is constantly asking audiences to “open your mind to a new point of view.” She also talks through the development of the song What Is This Feeling? and why it was workshopped through different drafts and musical options during development, understanding that change is scary for principal characters – and also for humans, as she learnt fast when writing for Glinda – as well as the vitality of exquisite storytelling in her act two opener, Thank Goodness. We also rejoicify her recent double box-office hit with Wicked on the big screen, why fans’ desire for the movie adaptation never went cold throughout the years – and why Wicked: Part One and Wicked: For Good were never about simply repeating the musical in a different medium. And she shares the swankified global power of the original Broadway cast album, memories of meeting Idina Menzel for her first Wicked audition back in 2001 – and how it changed the trajectory of Wicked forever. She also zooms in on Madame Morrible’s denouncement of Elphaba in Defying Gravity, and why spoken word in such a huge act one closing song helps her leading lady step into her power. And why London is “very special to us” as she lauds the remarkable women who have led her show in the West End. Host: William J Connolly Produced by: William J Connolly/Darren Bell wickedthemusical.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

He’s the longest-running actor to play Fiyero in the history of Wicked on Broadway, performing an incredible 1,073 performances as the CEO of the brotherhood of the tight white pants. Having first joined the show as an understudy and ensemble member on tour, he’s danced his way through life to leading the show on the road in the US, on Broadway – including during its 20th anniversary at the Gershwin Theatre – and now directly into its 20th celebrations this September, as the London production of Wicked marks two decades at the Apollo Victoria Theatre – something he labels as “the greatest experience of my life”. Now here in London – a place and chapter that he labels as “so unexpected” – he reflects on his history-making time as the Winkie Prince, including how his time as an understudy under great leaders helped teach him about the power of teamwork, why there’s more to Fiyero than just his looks – and how he’s worked to ensure his portrayal allows the acting to lead first. Plus, we explore both the similarities and differences between his performance and that of Jonathan Bailey’s in the recent blockbuster movie, what it was like playing Fiyero during the release of the two movies, and celebrate introducing his American portrayal to UK audiences, including the hilarious encounter around accents he had with its London stars when he first joined the West End cast.  And he reflects on the life-changing impact this show has had on his life, his family and his career: “This was not something that I thought was possible.” Host: William J Connolly Produced by: William J Connolly/Darren Bell wickedthemusical.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

She’s the hilarious stage actor who made history when she originated the role of Glinda in the West End production of Wicked in 2006 opposite none other than Tony Award-winning star Idina Menzel. And as the West End production celebrates two decades at the Apollo Victoria Theatre this September, we celebrate “the most extraordinary thing to happen to this unknown Australian actress”. From welcoming in a new life for Glinda as the first to play her with a British accent – including switching lines from “how to fix your hair” to “how to do your hair” – to working with the show’s original creative team on some of the major character and script updates that would become definitive to London. She also looks back on why not everything quite went to plan during that first preview — particularly when it came to her first descent into Oz via her bubble! — as she recalls the moment through great laughter. We also celebrate Kristin Chenoweth and her lasting impact on the role, why comedy is forever this Aussie’s favourite medium, and working with original London co-stars including Adam Garcia and Miriam Margolyes. Plus, she celebrates the “terrific team” she created with the “bloody lovely” Idina Menzel, including the “electric” feeling of playing opposite her Elphaba each performance, how she had “tears rolling down her face” during every performance of “Defying Gravity” – and why there’s truly “never been a voice like it” when it comes to the OG green girl. We also toast the extraordinary costumes of Susan Hilferty, the unmatched loyalty of Wicked London fans and why it’s important to never judge your character by their choices — even when faced with their more challenging moments each show. And as for returning to London this September to celebrate 20 years… she quite simply “cannot wait!”. Host: William J Connolly Produced by: William J Connolly/Darren Bell wickedthemusical.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

He’s the Academy, Grammy and Tony-winning lyricist and composer of Wicked, the musical that has been the soundtrack to our lives in London for almost 20 years, as the West End production steps into its 20th anniversary year this September. To celebrate two decades of performances at the Apollo Victoria Theatre, it’s time to head back to 2006 and explore how London helped shape Wicked into one of the biggest theatrical hits of all time. Speaking direct from his home, the genius himself explains how introducing the untold story of the Witches of Oz to a new, non-American audience was a “nervous” challenge for its leading creatives, who all reunited for the first time since opening on Broadway. He reveals how they implemented changes to the show that began in London, why they felt it was important to workshop those changes with a British cast, and why the epic scale of Wicked in London is all thanks to the beauty of the Apollo Victoria Theatre. He celebrates some of the remarkable women who have starred in the show in London – and in the recent two-part movie! – and recalls what it was like reuniting with his Tony-winning colleague and friend Idina Menzel as she returned to the show for its London opening in 2006, describing her as an “absolute powerhouse voice and persona” when remembering her time leading the show.  He also shares his memories of hearing her sing his anthem “Defying Gravity” live night after night, the audience response to the song at its first preview in the West End, and why hearing it remains “exhilarating” for its musical creator, from that first night in 2006 all the way to today.  Plus, he opens up about the growing cultural and political relevance of the musical, the secret sauce of director Joe Mantello, and why everything in Wicked ultimately comes back to the power of great vulnerability and authenticity – both in its leading characters and in the remarkable women who have played them over the last 20 years. Twenty years of Wicked in London? Even he can’t quite believe it! Host: William J Connolly Produced by: William J Connolly/Darren Bell wickedthemusical.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

To celebrate her final performances as the brattiest girl in all of London town as she plays Mary Todd Lincoln in the West End production of Oh, Mary! - a role that she reprises following record-breaking box office runs in New York – Jinkx Monsoon is reflecting on a life-changing journey leading The Monsoon Administration. So how do you switch from bratty curls Stateside to an all-new English cast and audience that is waiting to learn a bit of American history with a twist?   Direct from her home, we talk all things Mary Todd, including their love and respect for the writing of Cole Escloa, being given the honour of stepping into Sam Pinkleton’s production on now three separate occasions and why this material is anything but a joke to deliver eight times every week.  Plus we celebrate her journey from niche cabaret artist to being a niche cabaret legend on stage every night, the power of patience and hard work in the entertainment industry and why great writing in the world of comedy is addictive. We also celebrate the power of stage door conversations, queer people creating spaces within the mainstream that they wanted but were never given – and the life-changing impact Hedwig and The Angry Inch had on her as a young queer theatre kid longing for connection.  And why it was a full-circle moment for her when friends like RuPaul and Michelle Visage showed up for her at Oh, Mary!, reminding her of the remarkable journey from a tic tac lunch and a dream to certified leading lady.  Finished? This gorgeous little hussy is only just getting started…. Host: William J Connolly Produced by: William J Connolly/Darren Bell ohmaryplay.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

He’s the remarkable stage actor currently leading as King II Targaryen in the world premiere of Game of Thrones: The Mad King at the RSC in Stratford.  Based on the novels by George R. R. Martin and adapted for the stage by Duncan Macmillan and directed by Dominic Cooke, the play marks a milestone moment for the globally-adored franchise – and celebrates a new chapter in the world of possibilities for major theatrical epics. But how do you bring this extraordinary tale to life each and every night on stage?  Well lets find out as just moments before he takes to the stage at the Royal Shakespeare Theatre in this world premiere production, we dive deep on the wondrous world of Game of Thrones: The Mad King, including making his RSC debut, building a beloved character up in a new chapter – and why his pursuit of truth in a world of madness has been one of his favourite theatrical endeavours so far. Plus, we celebrate the genius of George R. R. Martin, his visit to see the show on two separate occasions – and how this has turned out to be George’s favourite version of the infamous Iron Throne. We also acknowledge the global love of fans embracing new faces inside the world of Game of Thrones, what it’s really like seated up that famous Throne - and how he’s gone from being a newbie to certified fan in the GOT universe.  An epic of all epics? Sounds about right for The Mad King… Host: William J Connolly Produced by: William J Connolly/Darren Bell www.rsc.org.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

Enter centre stage… a legend. With an extraordinary 11 Grammy nominations, 3 Emmy nominations and a Tony nomination to her name, Vanessa Williams has broken boundaries and captivated audiences for decades. From chart-topping music to unforgettable roles across film, television and stage, she has become the definition of hard work, soaring talent and undeniable stage presence. Currently originating the ultimate boss from hell in the official stage adaptation of The Devil Wears Prada, it’s time to check in at Runway and celebrate her final chapter as Miranda Priestly — ahead of her major live solo show, which begins touring next February. Direct from her home, we reflect on her milestone journey at the Dominion Theatre, why performing in the West End is a dream come true, how London has embraced her — and why she is proud to dive deeper into and explore more of the most famous fashion boss of all time. Plus, we talk all things Sir Elton John and Jerry Mitchell, her soaring love for co-star Matt Henry, and why everything is iconic at Runway — from her entrance and those quotable lines to all that fashion. And with friends, industry peers and colleagues including Chita Rivera, Stephen Sondheim, Luther Vandross, Hal Prince and Barbara Cook (to name but a few!), we celebrate a life on stage that has allowed Vanessa to flourish and shine — and why she has never taken a moment of it for granted. And above all else, why you should NEVER measure yourself by the opinion of others. It’s time to enter the House of Vanessa — legends only edition. Host: William J Connolly Produced by: William J Connolly/Darren Bell devilwearspradamusical.com vanessawilliamslive.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

She’s the kick-ass London stage star that’s currently making her acting debut as Katniss Everdeen in the original production of The Hunger Games: On Stage – a show adapted by Conor McPherson and directed by Matthew Dunster. From the thrill of shocking fan reactions to misbehaving props and the “insane” live experience and theatricals, we dive into life inside the of the new Troubadour Canary Wharf Theatre and why there’s no other theatrical world like it. Plus we talk about the books and what Jennifer Lawrence did so perfectly on the big screen, the thrill of meeting  original author Suzanne Collins and how you build up a role that is equal parts script, and superhero with the level of extra physicality and stunt work required.  And, you never truly lose the feeling of being a fan of this world - even when you become its newest soaring star. Host: William J Connolly Produced by: William J Connolly/Darren Bell thehungergamesonstage.com Learn more about your ad choices. Visit megaphone.fm/adchoices

He’s the Tony and Olivier-recognised writer that’s penned some of the most impactful pieces of work of the last 20+years.  From Glorious! to End of the Rainbow and now Allegra - alongside many, many others – his work has brought soaring female-led stories to the forefront of our industry, often with an added live music element, too. To mark the final performances of his new hit Allegra – led by Dame Maureen Lipman - we dive into life back in the West End and why there’s a power in writing for comedic joy, being reunited with Maureen after their legendary work on Glorious! and how personal loss in his life was the unexpected real-world inspiration for his new show. We also talk all things End of the Rainbow, having leading stars like Tracie Bennett and most recently Jinkx Monsoon play the leading role, and why the show is more of a comedy than people expect - even through the tears and struggles - and, he reveals how, in one rather peak period in his life, he actually wrote both Glorious! And End of the Rainbow within the same 6-months period.  Plus, he lets us into his mind on everything from inspiration and ideas to story and construction on the page, how he continues to write two or three plays each and every year, and why sometimes not having a plan is “good” for the writing journey. Host: William J Connolly Produced by: William J Connolly/Darren Bell allegraplay.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Tina Sinatra isn’t sure if the pride will land first, or the tears. At the point of which we connect, it’s the latter.  Sat in her hotel room just hours before the West End premiere of a musical that honours the life of her parents - promising to “sustain him and honour him” when talk turns to her rather famous father, Frank - there’s a cocktail of emotions and pressure starting to build.  With a book by two-time Tony Award-winner Joe DiPietro and directed and choreographed by Olivier Award-winner and three-time Tony Award-winner, Kathleen Marshall, the daughter of one of the most famous men in music history knows the story of her family and how much they mean to music lovers throughout the generations - and is ready to introduce them to a new offering; Sinatra: The Musical, a show about the music, the man and showing the world just how strong her mum really was. Having its premiere now in London, a city that she reveals was Frank’s second favourite to play of anywhere across the globe - we all know where the first is! – Tina explains why this is a chapter she wants fans to throw their arms around, saying that she is “so happy” with the results of the musical. Guaranteeing that it shows Frank’s life in both the good and the ugly, the emotion of seeing her parents lives play out on stage with real humans and the added punch of the songs evokes “cheers they (her parents) hear in heaven” from those lucky enough to sit in the audience and go on this wild ride together.  And the task of becoming Frank? That’s the job of Joel Harper-Jackson, a leading man that she calls as “phenomenal” as her father - tears returning once again to her eyes.  So what’s it like to have the life of your family brought to the stage in a BIG and roaring West End musical? Well… emotional pride might be the best way to describe it all, as Tina Sinatra does here in this rather special episode of eleven. Host: William J Connolly Produced by: William J Connolly/Darren Bell Photography by: Gareth Cattermole sinatramusical.com Learn more about your ad choices. Visit megaphone.fm/adchoices

He’s the stage and screen actor that’s earned himself a wealth of fans from across both mediums thanks to his varied and detailed work, with projects like Bridgerton 2, Benediction, Black Beauty, Mrs Wilson, Derry Girls, What It Feels Like For A Girl, Ghosts, Lord of the Rings, Archie, Sweetpea and Wife, to name but a few. And now, he’s stepping into his first principal stage role to star in Tom Wright’s new play Please Please Me, which plays at the Kiln Theatre until 29th May.  So here, in an exclusive conversation recorded just as the show began its life at the Kiln Theatre, we dive into the magic of bringing a story like Please Please Me to the stage, including exploring the “complicated” life of Brian Epstein - the unsung, gay legend and ‘Fifth Beatle’. We also explore the safety of not having an audience all the way to the thrill of a sold-out one, the power of literature and research in building an understanding of the past and how music helps bring people together. Plus, how he loves jumping between stage and screen to apply his craft to both, becoming a student to leading industry peers and why he wanted to push himself out of his safety zone and honour the legacy of this remarkable music pioneer.Host: William J Connolly Produced by: William J Connolly/Darren Bell kilntheatre.com Learn more about your ad choices. Visit megaphone.fm/adchoices

She’s the newly-crowed Olivier winner and certified West End leading star that’s currently delivering the performance of a lifetime as Millicent Clyde in the original London cast of Paddington: The Musical at the Savoy Theatre. From her time rising through the ranks to starring roles in Hadestown, Cinderella, Death of a Salesman, Murder Ballad and many, many others, she’s earned herself a career on the stage like no other.  In this exclusive conversation direct from her home, we reflect on stepping into the darkness to spend her days hunting down the most famous bear of all of London as Millicent Clyde in Paddington: The Musical, and why there’s joy in those Pretty Little Dead Things. Plus, we celebrate the unmatched response to the show, how it’s “tough” to be mean to Paddington on stage when he’s looking directly into your eyes - somebody she describes as “the most perfect specimen” - and why there are cheers and tears every night when the little guy makes his first entrance.  We also explore the joyful complexities of being a working mum in her 40s in the arts, the “wonder” of singing Anais Mitchell in Hadestown and why Paddington stands for “everything that’s right in the world”. Note: This episode was recorded before Victoria was crowned with her recent Olivier Award for Best Actress in a Supporting Role in a Musical. Host: William J Connolly Produced by: William J Connolly/Darren Bell paddingtonthemusical.com Learn more about your ad choices. Visit megaphone.fm/adchoices

He’s the Tony-recognised director and king of LOL that’s helped bring to life some of the funniest pieces of theatre and film - from Shrek: The Musical to Pitch Perfect, all the way to Sisters, starring Tina Fey and Amy Poehler and his Tony-winning smash-hit show Avenue Q- which now celebrates 20+ years since its first off-Broadway opening back in 2003.Now the famous singing puppets return to London with a special 20th-anniversary West End production, brought together by the original Broadway creative team.In this exclusive conversation direct from London, Avenue Q’s original director reflects on the power of singing puppets, tackling topics that seem off-limits until you’ve a furry friend by your side, and what the first reactions were like to the show back in 2003 - including the puppets getting down and dirty in You Can Be as Loud as the Hell You Want (When You’re Makin’ Love).Plus, the rare task of revisiting a show 20+ years later, updating his material for a new 2026 audience and how Lucy, The Slut’s now infamous performance of Special for the then Prince Charles came about.  We also dive into key moments from his career including mounting Shrek: The Musical for Broadway (farting ogres and all), working with Reese Witherspoon on the upcoming Legally Blonde prequel series Elle, and why he shares our collective excitement at the new Murder She Wrote adaptation starring Jamie Lee Curtis as iconic mystery writer Jessica Fletcher, which he is set to also direct. Anybody for a bit of puppet love? Host: William J Connolly Produced by: William J Connolly/Darren Bell avenueqmusical.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

She’s the Grammy-winning music powerhouse that’s been the soundtrack to our lives for more than two decades and produced some of the most moving music offerings of all-time – few greater than her Tony-recognised musical Waitress, which took New York by storm when it first began performances back in 2016.  Now, in an exclusive conversation marking the 10th anniversary of the show’s Broadway debut — and as a thrilling new touring production moves audiences across the UK — its Tony-nominated composer reflects on the life-changing journey of writing for Jenna, the pie-maker with a heart of gold. So direct from Stateside and taking a break from her time in the studio, we deep dive into the original creations of Waitress in this 14-year journey; including overcoming imposter syndrome while writing her first Broadway musical, writing soaring anthems like She Used to Be Mine, Soft Place To Hand and What Baking Can Do — and the honour of bringing Adrienne Shelly’s beloved story to the stage with a history-making creative team. We also discuss the emotional impact of Jessie Mueller’s original performance, how developing the role with her gave the composer the courage to step into Jenna’s shoes herself and understanding the value of feeling uncomfortable when creating new art. And she celebrates the power of new storytelling for her show with new faces and new audiences as Waitress tours the UK in this 10th anniversary year.  Sugar. Butter. Sara. Host: William J Connolly Produced by: William J Connolly/Darren Bell waitressthemusical.co.uk Learn more about your ad choices. Visit megaphone.fm/adchoices