This week Darren and Natalie dive into three wildly different yet equally compelling productions currently electrifying London’s stages - Crocodile Fever at the Arcola Theatre, Punch in the West End, and The Assembled Parties at Hampstead Theatre.

Crocodile Fever  

First up, it’s mayhem in 1970s Northern Ireland in Meghan Tyler’s Crocodile Fever at the Arcola Theatre, directed by Mehmet Ergen. This surreal, blood-soaked black comedy tells the story of two estranged sisters - Rachael Rooney as fiery, gun-wielding Fianna, and Meghan Tyler herself as the repressed, devout Alannah - who reunite in their family home after years apart. As old wounds resurface, their violent, hilarious confrontation spirals into absurd chaos, fuelled by revenge, generational trauma and an unstoppable undercurrent of sisterhood. With standout design by Merve Yörük and lighting by Richard Williamson, this production brims with wild energy, gutsy performances and buckets of stage blood. It’s Irish gothic carnage at its best.

Punch 

Next up, Punch, James Graham’s extraordinary new play based on the true story of Jacob Dunne, a young man whose single act of violence changed multiple lives forever. Directed by Adam Penford, Punch charts Jacob’s journey from reckless teenager to a man forced to face the ripple effects of his actions - and the unexpected compassion of his victim’s parents. Featuring a powerhouse ensemble including Alec Boaden (Masters of the Air), Julie Hesmondhalgh(Mr Bates vs The Post Office), Tony Hirst (Boiling Point), Shalisha James-Davis (I May Destroy You), Emma Pallant (Queenie), and David Shields (Black Mirror), this is a play “every single person should see” (WhatsOnStage). Deeply human and profoundly moving, Punch reminds us that forgiveness is not an absence of pain… it’s a choice born of courage and hope.

The Assembled Parties

Then, at Hampstead Theatre, Richard Greenberg’s The Assembled Parties returns in a luminous new production directed by Blanche McIntyre, following her recent hits Letters from Max, Apex Predator, and The Invention of Love. This witty, melancholic, and richly layered family drama unfolds over two Christmases - one in 1980, another twenty years later - inside the lavish Upper West Side apartment of former film star Julie Bascov, played by Tracy-Ann Oberman (The Merchant of Venice 1936). Alongside her are Jennifer Westfeldt (Kissing Jessica Stein, Friends With Kids), making her London theatre debut, and a superb ensemble that brings warmth, humour, and heartbreak to Greenberg’s tender exploration of time, privilege, and the ghosts of memory. 

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This week Darren and Natalie explore three standout productions lighting up London’s stages - Entertaining Mr Sloane at the Young Vic, The Importance of Being Earnest in the West End, and MUSIK at Wilton’s Music Hall.

Entertaining Mr Sloane – Young Vic

Finally, Entertaining Mr Sloane storms into the Young Vic with a thrilling new production of Joe Orton’s scandalous classic. Directed by Nadia Fall, this darkly comic revival stars Tamzin Outhwaite as Kath, Jordan Stephens as the seductive Mr Sloane, and Daniel Cerqueira as Ed. Wickedly funny and deliciously subversive, it’s a sharp, stylish take on desire, manipulation and power games in 1960s Britain.

The Importance of Being Earnest – West End Transfer

Then it’s Oscar Wilde’s The Importance of Being Earnest, newly transferred to the Noël Coward Theatre. Directed by Max Webster, this revival features Olly Alexander as Algernon Moncrieff, Nathan Stewart-Jarrett as Jack Worthing, Hugh Dennis as Rev. Chasuble and Stephen Fry as the formidable Lady Bracknell. With dazzling wit, elegant staging, and a stellar cast, Wilde’s beloved comedy of manners feels as fresh and fabulous as ever.

MUSIK – Wilton’s Music Hall

First up, MUSIK sees the incomparable Frances Barber reprise her role as Billie Trix, the hard-living, truth-spilling icon created by Jonathan Harvey and Pet Shop Boys. Set against a backdrop of post-war Berlin and the glittering hedonism of 1980s New York, this sharp, hilarious, and surprisingly moving one-woman show is cabaret storytelling at its most intoxicating.

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This week Darren reviews Clarkston at Trafalgar Theatre - a beautifully observed, quietly powerful story about friendship, longing, and the search for meaning in small-town America.

Clarkston – Trafalgar Theatre

From Tony Award-winning writer Samuel D. Hunter (The Whale), Clarkston follows Jake, played by Heartstopper’s Joe Locke and Chris, as the brooding Ruaridh Mollica, two young men working dead-end jobs at a Costco on the edge of town. As their lives intertwine, the play explores identity, loneliness, and what it means to keep going when the world feels like it’s falling apart. With moving performances and pitch-perfect direction, this is one of the most heartfelt productions in the West End right now.

Just For One Day – The Live Aid Musical – Shaftesbury Theatre

Meanwhile, Natalie shares her thoughts on Just For One Day - The Live Aid Musical, a celebration of music’s power to unite the world. Featuring songs by Queen, U2, Elton John, and David Bowie, it brings the spirit of 1985 roaring back to life - reminding us that compassion, collaboration, and hope can still take centre stage.

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This week we’re celebrating three decades of one of the UK’s most exciting and influential theatre companies - Frantic Assembly. Known around the world for their bold physical storytelling and collaborative spirit, Frantic has transformed how theatre is made, studied, and experienced.

In this special anniversary episode, we dive into:

Ignition – their groundbreaking free talent development programme for young people, recently saved through a major fundraising campaign.

Lost Atoms – the brand-new 30th anniversary production by Anna Jordan, directed by Scott Graham, starring Ignition alumni Joe Layton and Hannah Sinclair Robinson.

BBC Proms collaboration – Frantic joins forces with Aurora Orchestra at the Royal Albert Hall for a memorised, dramatised performance of Shostakovich’s 5th Symphony – broadcast on BBC Four and iPlayer.

From nurturing underrepresented voices to staging unforgettable, heart-pounding productions, Frantic Assembly has spent 30 years pushing boundaries, opening doors, and inspiring the next generation of theatre-makers.

Tune in to celebrate their legacy, their future, and the stories that continue to move us all.

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This week, Darren goes backstage with Abigail Hood, the acclaimed writer behind Monster, a gripping and thought-provoking drama exploring the ripple effects of crimes committed in childhood, forgiveness, and the cycles of trauma.

Monster – Seven Dials Playhouse

Presented by Veritas Theatre Company and KEPOW! Theatre Company, Monster is a triple OFFIE-nominated and one OFFIE-winning production, directed by Kevin Tomlinson. Set across two decades, the play follows Kayleigh, a troubled teenager growing up in Glasgow, whose intense friendship with Zoe offers an escape from her abusive home. As events spiral tragically out of control - including Kayleigh taking the life of her teacher’s baby daughter—the play probes questions of culpability, rehabilitation, and whether someone raised in violence is destined to repeat it.

Drawing on extensive research into cases like Mary Bell, Jon Venables, and Robert Thompson, Monster interrogates society’s role in supporting vulnerable young people, the limits of forgiveness, and the possibility of redemption. The revived production features a six-strong cast, including two members of the original award-winning ensemble, bringing fresh perspectives to Hood’s searing script.

Backstage Interview with Abigail Hood

Darren sits down with Abigail Hood to discuss the inspiration behind Monster, her research into real-life cases, and the moral complexities that the play explores. Hood shares her reflections on what drives a child to commit acts of extreme violence, how such individuals can navigate life afterward, and the profound questions of guilt, forgiveness, and redemption that underpin her work.

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This week we dive into some of the most compelling productions in London’s theatre scene with The Cide and Not Your Superwoman. We celebrate live music with Ben Forster’s album launch, and Darren sits down with playwright Amy Rosenthal to discuss her new play The Party Girls.

Not Your Superwoman – Bush Theatre

Darren reviews this poignant and witty production that explores mother-daughter relationships, identity, and the experience of Caribbean heritage in contemporary Britain. The show stars Golda Rosheuvel and Letitia Wright in powerful performances that are both heartwarming and raw. Directed by Lynette Linton, Not Your Superwoman balances humour and emotional depth, highlighting the complexities of love, family, and generational conflict.

The Code – Southwark Playhouse

“This entire town is a cesspool, darling. Beautifully lit. Well appointed. But a cesspool nonetheless.” Set in Hollywood, 1950, The Code follows a fading star, a rising one, an agent with an agenda, and a legend who’s seen it all. Tallulah Bankhead stops in for a cocktail at the home of former screen idol turned interior designer Billy Haines, who may or may not be planning to disappear. Enter power agent Henry Willson and his protégé Chad Manford, setting the room alight. In a world where image is everything, can anyone break ‘the code’ without losing it all? Starring Olivier Award-winner Tracie Bennett and John Partridge, with Nick Blakeley and newcomer Solomon Davy, and directed by Tony nominee Christopher Renshaw, this show lays bare the unspoken rules of Hollywood, both then and now.

Ben Forster Album Launch

Natalie attends the launch of Ben Forster’s latest album, celebrating his remarkable journey in musical theatre and recording. Known for his performances in Jesus Christ Superstar, Phantom of the Opera and Rock of Ages, Ben brings a theatrical energy to his music that bridges stage and studio, offering fans an unforgettable live experience.

Interview – Amy Rosenthal, Writer of The Party Girls

Darren sits down with Amy Rosenthal to discuss The Party Girls, her new play exploring the lives of the infamous Mitford sisters. The show is directed by Richard Beecham and features stunning design by Simon Kenny and lighting by Aideen Malone. Amy discusses her inspiration, the ensemble performances, and the process of bringing this complex, witty, and emotionally charged family saga to life on stage.

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Today we’re joined by two women at the helm of one of London’s most historic and exciting theatres. Stratford East, founded back in 1884, has always been a place for global stories told in the heart of East London. It’s the home of Joan Littlewood’s revolutionary spirit and a launchpad for generations of theatre-makers, from Barbara Windsor to Cynthia Erivo.

Now stepping into this legacy are Lisa Spirling, the new Artistic Director and Co-CEO, and Hanna Streeter, the new Executive Director and Co-CEO. Together with Associate Artistic Director Jade Lewis, they’re shaping a bold new future for this 140-year-old theatre.

We’ll talk about their vision, Lisa’s inaugural season - from the UK premiere of Here There Are Blueberries to Nancy Medina’s Choir Boy and Ava Pickett’s Bloodsport: After Helen of Troy - and why Stratford East remains such a vital part of London’s cultural landscape.

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This week we delve into the darkly compelling world of The Pitchfork Disney at King’s Head Theatre. Darren reviews this intense and unforgettable play, exploring its surreal storytelling, psychological tension, and the electric performances that bring the story to life.

Backstage Interview – Ned Costello & Elizabeth Connick

Darren goes backstage to speak with Ned Costello and Elizabeth Connick, who play the enigmatic twin characters Presley and Haley. They share insights into their preparation, the challenges of inhabiting these complex roles, and the dynamic of performing as a twin pair in this extraordinary production.

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This week on the podcast, we journey through the bold, inventive, and utterly captivating theatre that’s lighting up London and beyond. From revolutionary silence to scandalous sisters and chaotic coming-of-age, we explore three productions that are pushing boundaries, thrilling audiences, and reminding us why live theatre matters.

Deaf Republic

We’ll start with the Royal Court’s production of Deaf Republic, Dead Centre and Zoë McWhinney’s adaptation of Ilya Kaminsky’s poetry collection. It’s set in a fictional town where silence itself becomes an act of protest. With BSL, spoken word, creative captions, puppetry, and video all woven into the storytelling, it’s a production that challenges what theatre can be.

The Party Girls

Then we head over to the Marlowe Theatre in Canterbury with The Party Girls, Amy Rosenthal’s new play directed by Richard Beecham, which dives headfirst into the lives of the infamous Mitford sisters. It’s a family saga that mixes politics, glamour, and deep fractures, all brought to life with stunning design by Simon Kenny and lighting by Aideen Malone, plus some terrific performances from the ensemble.

The Chaos That Has Been and Will No Doubt Return

And finally, we’re at Southwark Playhouse in The Little for Sam Edmunds’s The Chaos That Has Been and Will No Doubt Return. This one’s a stomping 80 minutes of full-on theatrical energy - a coming-of-age comedy with a dark twist, performed by a cast of three who bring a whole community to life, including terrific multi-rolling from Leanne Henlon.

Plus, a nod to the Fringe Awards summer gathering - celebrating the incredible creativity, risk-taking, and sheer talent across the festival.

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This week Natalie and Darren review Eireann A Taste of Ireland and Till The Stars Come Down. Darren goes back stage with Sam Edmunds co-AD of Chalk Line Theatre company

Eireann: A Taste of Ireland

Journey through the sights, sounds, and flavours of Ireland in this vibrant, celebratory production. Darren delves into the music, storytelling, and energy that make this show a true feast for the senses.

Till The Stars Come Down

Set against the highs and lows of a chaotic wedding day, this sharply comic and deeply touching drama follows a family gathering where love, loyalty, and long-held secrets are tested. Darren shares his thoughts on the performances, humour, and heartfelt moments that make the show unforgettable.

Interview – Sam Edmunds, Co-AD of Chalk Line Theatre Company

Darren sits down with Sam Edmunds to discuss the company’s groundbreaking work, their approach to storytelling, and the inspiration behind their latest productions.

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