In this episode, Darren and Natalie bring together Paco Peña: Solera, John Proctor Is the Villain, and a look at The Off West End Awards (Offies) - celebrating bold performance, urgent storytelling and the brilliance of Off-West End theatre.

The Off West End Awards (The Offies)

We take a moment to celebrate the Offies - the awards that champion the very best of Off-West End theatre. Recognising innovation, risk-taking and outstanding talent across London’s fringe venues, the Offies shine a spotlight on the artists and productions pushing boundaries and shaping the future of theatre.

Smalltown Boy – Development Workshop Presentation 

A new jukebox musical in development, showcased in an invite-only industry workshop in London. Set in New York’s East Village in 1983, it follows a teenage runaway immersed in the underground New Wave scene as the AIDS crisis begins to unfold. Featuring iconic 80s hits like Tainted Love and True Colors, the show explores identity, belonging and chosen family through a distinctly LGBTQ+ lens, with a rising West End cast and a creative team led by writer Jeffrey Fischer-Smith and director Jonathan O’Boyle.

Paco Peña: Solera – Sadler’s Wells

Flamenco legend Paco Peña returns with Solera, a rich and soulful celebration of Andalusian music and dance. Joined by an exceptional company of dancers and musicians, this electrifying production blends intricate guitar work, powerful vocals and breathtaking choreography. Rooted in tradition yet alive with contemporary energy, Solera is a masterclass in rhythm, storytelling and the enduring power of flamenco.

John Proctor Is the Villain – Royal Court Theatre

A blistering, five-star production that couldn’t feel more timely. Written by Kimberly Belflower and directed by Danya Taymor, this bold re-examination of The Crucible through a modern, feminist lens places teenage girls at the centre of the narrative. Set in a Georgia high school, the play interrogates power, patriarchy and whose stories are believed - or rewritten. Featuring an outstanding ensemble cast delivering electric, emotionally raw performances, this is theatre that feels urgent, necessary and deeply resonant.

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In this episode, we’re joined by Olivier Award-winning performer, writer and cabaret artist Sarah-Louise Young, as she brings her wildly successful cult hit An Evening Without Kate Bush to Underbelly Boulevard in London.

This isn’t your typical tribute show. Kate Bush isn’t in it… and yet she’s everywhere. Blending iconic music, audience participation, and a deep love for fandom, the show has become a global phenomenon - out internationally, playing Glastonbury, and building a fiercely devoted following.

In this conversation, we talk about the magic of cabaret, the unpredictability of live audiences, and what it means to create a show that changes night to night and why cabaret remains one of the most exciting and dangerous forms of live performance.

Plus… what would actually happen if Kate Bush walked into the audience?

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This week Darren and Natalie take on four strikingly different productions. From dark historical drama – Savage, and modern dating satire You Matched With, to world-class dance Turn it Out with Tiler Peck and Friends and a raw, music-fuelled classic - Teeth 'n' Smiles.

Savage – White Bear Theatre

A chilling and provocative play rooted in real history, Savage explores the horrifying “conversion” experiments carried out under Nazi rule by Danish doctor Carl Peter Værnet, who claimed to have found a “cure” for homosexuality. Set against this brutal backdrop, the play examines identity, power and survival, brought to life through a strong ensemble. Unflinching and deeply affecting, it confronts a dark chapter of history that still resonates today.

You Matched With… – Etcetera Theatre

Swipe right into chaos with this sharp, witty exploration of modern dating. You Matched With… dives into the absurdities, expectations and emotional rollercoaster of app-based romance, blending humour with uncomfortable truths about connection in the digital age. Fast-paced and relatable, it captures the awkwardness, hope and heartbreak of searching for love through a screen.

Turn It Out with Tiler Peck & Friends

A dazzling evening of dance led by New York City Ballet principal Tiler Peck, bringing together an extraordinary ensemble of performers across ballet, tap and contemporary styles. Packed with visually stunning choreography and standout moments - including a thrilling duo with her husband Roman Mejia - this vibrant programme showcases the sheer versatility and brilliance of world-class dancers pushing boundaries and celebrating movement in all its forms.

Teeth 'n' Smiles 

David Hare’s cult classic returns in this raw, electrifying production set in the world of a struggling rock band. Following a chaotic university May Ball performance, Teeth 'n' Smiles captures the tensions, ambitions and disillusionment of youth through music, rebellion and sharp dialogue in this rebel play starring Self Esteem's Rebecca Lucy Taylor. Gritty, funny and biting, it remains a powerful portrait of artistic frustration and the cost of chasing success.

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This week Darren and Natalie take on two epic stories reimagined for the stage - from dystopian spectacle with The Hunger Games: On Stage to one of Shakespearean’s most famous tragedy Romeo & Juliet.

The Hunger Games: On Stage

Citizens of Panem, the arena has arrived in London. This bold new stage adaptation of Suzanne Collins’ global phenomenon transforms The Hunger Games into a live theatrical experience in a purpose-built venue at Canary Wharf. Adapted by Conor McPherson and directed by Matthew Dunster, this ambitious production follows Katniss Everdeen’s fight for survival in a world where power, control and spectacle collide. With cutting-edge staging and a clear sense of scale, the show brings the iconic story to life in a way that asks: what happens when entertainment and violence become one and the same?

Romeo & Juliet @ Shakespeare’s Globe

Back at the Globe for its 20th anniversary year of Playing Shakespeare with Deutsche Bank, this fast-paced, 90-minute revival of Romeo & Juliet offers a thrilling, accessible take on Shakespeare’s most famous love story. Directed by Lucy Cuthbertson, this “stunt-riding thriller” strips the play back to its raw emotional core, placing young love against a backdrop of escalating violence. Designed as an entry point for new audiences, this production proves just how urgent and relevant the story of Romeo and Juliet still feels today.

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Best known to millions as Raquel in the iconic BBC sitcom Only Fools and Horses, Tessa  Peake-Jones joins Darren to discuss her latest stage role in the heartfelt new comedy-drama Invisible Me, opening at Southwark Playhouse.

Written by Bren Gosling and directed by Scott Le Crass, the play explores dating, loneliness and the search for connection later in life. Following three very different characters navigating singledom in their sixties, Invisible Me offers a funny, honest and touching look at love, identity and the courage it takes to start again.

Tessa talks about bringing the character of Lynn to life, the realities of representation for older performers on stage, and why stories about later-life romance feel more relevant than ever.

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Our guest this week is director and theatre-maker Jesse Jones, Artistic Director of Royal & Derngate, who joins Darren to talk about bold programming, new writing, and why theatre should never be afraid of dividing opinion.

Jesse’s career spans devised theatre, new writing, large-scale adaptations and West End hits. He co-founded the award-winning The Wardrobe Ensemble and previously served as Associate Artistic Director at Paines Plough.

In this episode we discuss leading a regional producing theatre, protecting risk in new writing, and his latest production Top Gs Like Me by Samson Hawkins, a provocative new play exploring masculinity, identity and online culture.

A thoughtful conversation about bold programming, new voices, and why theatre that divides opinion can sometimes be the most exciting kind.

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This week Darren and Natalie take on three wildly different theatrical experiences - from razor-sharp satire with The Producers and dark musical thrills American Psycho to outrageous operatic comedy - The Opera Locos.

The Opera Locos – Sadler’s Wells

The madcap Spanish company Yllana brings its international hit The Opera Locos to Sadler’s Wells, turning the world of grand opera completely on its head. This riotous comedy follows a group of eccentric opera singers competing for a prestigious prize, but their soaring voices and egos quickly spiral into chaos. Featuring beloved arias from composers such as Mozart, Verdi and Puccini alongside unexpected pop classics, the show blends virtuosic singing with physical comedy, mime and clowning. The result is a playful celebration of opera that proves the genre can be both spectacular and seriously funny.

American Psycho – Almeida Theatre

Rupert Goold returns to the Almeida Theatre with a thrilling revival of the cult musical American Psycho. Based on Bret Easton Ellis’ infamous novel, the show plunges us into the sleek, soulless excess of 1980s Wall Street as investment banker Patrick Bateman hides a terrifying double life. Featuring music by Duncan Sheik, this stylish, darkly satirical musical explores capitalism, vanity and the emptiness of consumer culture. With slick staging and a pounding score, the production captures both the glamour and the horror of Bateman’s world — where appearances are everything and identity is terrifyingly fragile.

The Producers – West End Transfer

Mel Brooks’ legendary musical comedy The Producers storms into the West End following its acclaimed run at the Menier Chocolate Factory. The outrageous story follows down-on-his-luck producer Max Bialystock and timid accountant Leo Bloom, who hatch a scheme to get rich by producing the worst musical ever written. What could possibly go wrong? Packed with showstopping numbers, outrageous jokes and the infamous “Springtime for Hitler”, this revival proves why The Producers remains one of the funniest musicals ever written — a riotous love letter to theatre itself.

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In this special backstage episode, Natalie sits down with Keala Settle and Hal Fowler, the stars of Mrs. President at the Charing Cross Theatre - a gripping reimagining of Mary Lincoln’s fight to reclaim her reputation after the assassination of Abraham Lincoln.

Keala Settle delivers a powerhouse performance as a woman vilified by history, navigating grief, public scrutiny and the crushing weight of expectation. Opposite her, Hal Fowler plays photographer Mathew Brady, the man tasked with restoring her image - a collaboration that becomes as volatile as it is revealing.

In this candid conversation, Keala and Hal explore the emotional intensity of the piece, the fine line between truth and public narrative, and why Mary Lincoln’s story feels startlingly contemporary. They discuss power, identity, media manipulation and the cost of being misunderstood - themes that resonate far beyond the 19th century.

Raw, insightful and unexpectedly timely, this is a fascinating glimpse behind the curtain of one of London’s most thought-provoking productions.

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This week, Darren and Natalie bring you backstage moments, bold new musical theatre, immersive magic and political satire with a photo call for World’s Greatest Lover, Natalie took her school kids to see Into the woods and Darren attended the press night of I’m Sorry, Prime Minister.

World’s Greatest Lover – Photo Call & Cast Chats

We were at the photo call for the high-energy pop-rock musical World’s Greatest Lover, featuring music and book by Julien Salvia and lyrics and book by Ludovic-Alexandre Vidal - the award-winning writing duo behind The Prince & The Pauper and The Adventures of Tom Sawyer. Fresh from their Eurovision pop success with La Poupée Monte Le Son, the pair now bring their infectious theatrical style to London. Darren caught up with cast members Matt Terry, Joaquin Pedro Valdes, and Jaymi Hensley for quick-fire chats about the show’s bold sound, its romantic chaos and what audiences can expect.

Into the Woods 

Back under the trees at the Bridge, this thrilling revival of Sondheim’s masterpiece invites audiences into an immersive fairytale world where wishes come at a cost. With seating wrapped around the action and on-foot tickets allowing you to follow the story, this is musical theatre at its most playful, poignant and theatrical.

I’m Sorry, Prime Minister

The iconic political duo return in this sharp, nostalgic and gently biting farewell to Jim Hacker and Sir Humphrey. A final chapter to the beloved Yes, Minister universe, this stage outing blends classic satire with contemporary relevance as power, ego and public image once again collide.

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In this week’s episode, Darren is joined by Joseph O’Curneen - founding member of internationally acclaimed Spanish theatre company Yllana - to talk about the glorious chaos that is The Opera Locos.

Returning to London following standing ovations, The Opera Locos takes over Sadlers Well’s Theatre for a strictly limited run. This vibrant comic opera experience blends world-class singing with outrageous physical comedy, fusing the grandeur of Mozart, Verdi and Puccini with pop anthems from Whitney Houston, Mika, U2 and more.

At the heart of the show are five eccentric opera singers - a faded tenor, a macho baritone, a pop-loving counter-tenor, a dreamy soprano and a fiery mezzo - whose rivalries, egos and hidden desires spiral into operatic mayhem. It’s opera… but not as you know it.

Joseph shares how Yllana, founded in 1991 as a comedy and physical theatre company, has grown into a global powerhouse - producing 41 shows, performing over 16,000 times across 48 countries, and reaching almost six million audience members. We explore the art of non-verbal storytelling, the universal language of laughter, and why opera is the perfect playground for comic anarchy.

From Max Award-winning success in Spain to international touring and a triumphant London return, this is a joyful, insightful conversation about risk, reinvention and making classical music wildly accessible.

If you think opera isn’t for you - this might just change your mind.

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