After an incident in which a choreographer smeared dog faeces in a critic's face because he took against her review, Nancy and Sarah discuss what drives creatives to attack critics, why reviewers have to be free to say what they think - and suggest ways in which the dialogue can improve

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Nancy is in rehearsals for a new play at the Menier Chocolate Factory. So she and Sarah take the opportunity to talk about what goes on behind the scenes when a cast come together - and why you must never have an affair!

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Nancy and Sarah return from their January break full of excitement as Luke Hallgarten, artistic director of the Revel Peck Circus, explains how the art of the circus ring reaches parts other arts really can't reach.

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Sarah and Nancy tip full-tilt into Christmas with a chat about Scrooge, pantomime dames, and all things festive. What does make a good Christmas show? Why is Sarah so miserable at a pantomime? And why does Nancy love carols?

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In Second World War, the British government thought the arts mattered enough to fund an entire entertainment arm. After the war, they built new theatres to enrich the peace, Why have we stopped believing culture is important now, when the world is reeling from a pandemic and a cost of living crisis? Nancy and Sarah take the long view of why they care about the arts - and why they should belong to everyone.

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As James Graham's new play Best of Enemies transfers to the West End, Nancy and Sarah talk to director Jeremy Herrin about working with new playwrights, the challenges of commercial theatre, the importance of assistant directors - and how a teacher changed his life.

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As we begin the run up to Christmas, Nancy and Sarah look back on shows that had a huge impact on them and their children - and the magic ingredients that all kids' shows need

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Inspired by Dominic Dromgoole's new book First Nights That Changed the World, Nancy and Sarah talk about the rituals of first nights - the food, the parties, the mood in the audience - and the effects they can have.

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Nancy and Sarah welcome their first critic guest, Sarah Hemming, who writes for the Financial Times and the conversation goes all over the place, from the dangers of biscuits onstage to the idea that critics should walk towards a play if they want to be part of the discussion.

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Nancy and Sarah talk to David Hare about actors he has loved, performances he remembers, the difference between writing and directing, why some people loathe the theatre and why critics are so often wrong about breakthrough plays.

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