Theatre Audience Podcast

This episode, we head from the streets of Victorian London to the African savannah, with a stop at the most delightfully absurd cabaret in town. We review Cameron Mackintosh's spectacular revival of Oliver!, Disney's enduring theatrical phenomenon The Lion King, and the wonderfully bonkers physical comedy of Derrière On A G String at the King's Head Theatre.

Oliver!

Cameron Mackintosh's new production of Lionel Bart's beloved musical Oliver! continues to delight audiences with its timeless score, unforgettable characters and thrilling storytelling. Based on Charles Dickens' classic novel Oliver Twist, the production features iconic songs including Food, Glorious Food, Consider Yourself and As Long As He Needs Me. Packed with heart, humour and outstanding performances, we discuss why this latest revival proves that Oliver! remains one of the greatest British musicals ever written.

Derrière On A G String

Part ballet, part physical comedy, part silent movie and entirely ridiculous, Derrière On A G String arrives at the King's Head Theatre with a glorious sense of mischief. Inspired by the visual comedy of Mr Bean and Laurel and Hardy, this highly skilled ensemble of dancers and performers create a series of hilarious, wordless vignettes through movement, slapstick and impeccable comic timing. Camp, chaotic and wonderfully inventive, this is a show where audiences should expect the unexpected - and perhaps avoid sitting too close to the action.

The Lion King

More than twenty-five years after its premiere, Disney's The Lion King continues to be one of the most breathtaking spectacles in musical theatre. Directed by Julie Taymor, whose groundbreaking puppetry and visual design transformed the possibilities of stagecraft, the production combines Elton John and Tim Rice's iconic songs with stunning costumes, choreography and storytelling. We discuss whether the magic still holds up and why generations of audiences continue to be captivated by Simba's journey from cub to king.

Join us as we explore three very different theatrical experiences - from musical theatre classics and theatrical spectacle to a gloriously cheeky celebration of physical comedy.

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This episode, we celebrate the launch of Sting's return to the stage in The Last Ship, witness Sir Gary Oldman's extraordinary theatrical comeback in Krapp's Last Tape, revisit the magical world of My Neighbour Totoro, enjoy the romantic chaos of Stage Kiss, and experience Cynthia Erivo's astonishing one-woman performance in Dracula.

The Last Ship

We attended the media launch for The Last Ship, the acclaimed musical from 17-time Grammy Award winner Sting, which sails into Theatre Royal Drury Lane this autumn. Featuring a new book by Barney Norris, directed by Leo Warner, with set and video design by 59, this reimagined production sees Sting himself taking on the role of Jackie White. Inspired by his own upbringing in Wallsend, The Last Ship tells the moving story of a shipbuilding community facing the loss of its livelihood, combining powerful storytelling with some of Sting's most beloved music. We discuss the launch event and what audiences can expect from one of the most anticipated musical theatre events of the year.

Krapp's Last Tape

Academy Award winner Sir Gary Oldman makes his long-awaited return to the stage after nearly four decades in Samuel Beckett's Krapp's Last Tape at the Royal Court Theatre. In this remarkable one-man performance, Oldman delivers a masterclass in acting, exploring memory, regret, loneliness and the passage of time through Beckett's haunting masterpiece. We discuss why watching one of Britain's greatest actors live on stage feels like a truly special theatrical event and why this production has captivated audiences and critics alike.

My Neighbour Totoro

The Royal Shakespeare Company's acclaimed adaptation of Studio Ghibli's beloved classic returns to the West End. Adapted by Tom Morton-Smith and directed by Phelim McDermott, My Neighbour Totoro combines breathtaking puppetry from Basil Twist and Mervyn Millar with a heartfelt story about imagination, family and childhood wonder. We discuss whether this theatrical phenomenon continues to cast its spell and why Totoro remains one of the most magical experiences currently on the London stage.

Stage Kiss

Sarah Ruhl's brilliantly funny romantic comedy receives its UK premiere in a delightful production directed by Blanche McIntyre. When two actors with a complicated romantic past are cast opposite each other in a stage melodrama, the lines between performance and reality begin to blur. Sharp, witty and surprisingly moving, Stage Kiss explores love, intimacy, nostalgia and the peculiar magic of theatre itself. We discuss why this long-awaited UK premiere proves Ruhl's writing remains as fresh and insightful as ever.

Dracula

Three-time Oscar nominee, Tony Award winner and Grammy winner Cynthia Erivo takes on all 23 roles in Kip Williams' groundbreaking adaptation of Dracula. Following the extraordinary success of The Picture of Dorian Gray, Williams once again combines live performance and cutting-edge technology to create a thrilling piece of "cine-theatre". Erivo's tour-de-force performance transforms Bram Stoker's gothic horror into a breathtaking theatrical event, delivering a production that is as technically astonishing as it is emotionally gripping. We discuss whether this ambitious reinvention lives up to the enormous expectations surrounding it.

Join us as we dive into giant forest spirits, doomed shipyards, haunted memories, complicated romances and one very hungry vampire.

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In this episode, we’re joined by rising stage and screen actor Georgina Fairbanks to discuss stepping into the legendary West End production of The Mousetrap at St Martin's Theatre. Georgina opens up about playing Mollie Ralston in the world’s longest-running play, balancing comedy and tension inside Agatha Christie’s iconic mystery, and why audiences still can’t resist trying to solve the murder over 70 years later.

We also discuss her recent theatre work as Irene in Wilko at Southwark Playhouse. During the conversation, Georgina reflects on joining a theatrical institution under director Ola Ince, the pressure and excitement of entering such an iconic production, and the joy of hearing audience theories night after night. Thoughtful, funny and refreshingly honest, Georgina gives a fascinating insight into life inside one of the West End’s most enduring productions.

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In this episode, we head from the glittering celebrations of the Fringe Theatre Awards at the Clapham Grand to the outrageous comedy of Oh, Mary! starring Catherine Tate, the fast-paced female ensemble drama Flush, and a powerful new production of One Flew Over the Cuckoo's Nest directed by Clint Dyer. Expect dark comedy, emotional chaos, unforgettable performances and theatre that challenges the systems around us.

Fringe Theatre Awards

The team attended the annual Fringe Theatre Awards ceremony at Clapham Grand, hosted by Michael Twaits alongside a host of guest presenters, celebrating the very best of London’s fringe theatre scene. A joyful evening recognising bold new voices, breakthrough productions and the creative heartbeat of independent theatre.

Oh, Mary!

Comedy icon Catherine Tate takes centre stage in the West End transfer of Oh, Mary! at Trafalgar Theatre. Written by Cole Escola, this wildly irreverent black comedy reimagines Mary Todd Lincoln as a boozy, cabaret-obsessed First Lady spiralling in the weeks leading up to Abraham Lincoln’s assassination. Sharp, outrageous and completely unhinged, this multi-award-winning hit delivers some of the funniest and most daring comedy currently in the West End.

Flush

Winner of a Fringe Theatre Award and a Bitesize Award for Best Direction, Flush is an exhilarating ensemble comedy-drama set entirely inside a women’s nightclub toilet. Written by and starring April Hope Miller, the production follows sixteen interconnected women across one chaotic night of confessions, breakdowns, hookups and hard truths. Featuring standout performances from Ayesha Griffiths and Jazz Jenkins, Flush balances razor-sharp comedy with emotional honesty, capturing the fragile solidarity and messy brilliance of modern womanhood.

One Flew Over the Cuckoo’s Nest

Aaron Pierre, Giles Terera and Olivia Williams lead a gripping new production of One Flew Over the Cuckoo’s Nest. Directed by Clint Dyer and adapted by Dale Wasserman from Ken Kesey’s landmark novel, this bold reimagining explores power, oppression and institutional control through the eyes of Chief Bromden. Fierce, politically charged and emotionally devastating, this production breathes urgent new life into a theatrical classic.

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This episode, we’re diving into the haunting world of Let the Right One In at the Boulevard Theatre. Darren reviews Jack Thorne’s stage adaptation of the acclaimed Swedish vampire story, discussing how the National Youth Theatre tackled the play’s chilling atmosphere, emotional intensity and ambitious physical theatre within the intimate cabaret-style venue. Darren talks about the standout performances from the young cast, including Rachel Dowsett’s striking portrayal of Eli, the inventive staging and movement work, and why the story continues to resonate as both a dark coming-of-age tale and a haunting love story.

Darren and Natalie also discuss the importance of organisations like National Youth Theatre in developing the next generation of performers and creatives, with Natalie reflecting on her own experiences training there as a teenager. The episode follows with a behind the scenes conversation with director James Dacre, a long established mentor and director of NYT.

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This week, we dive into JEEZUS!, A Midsummer Night’s Dream at Shakespeare's Globe, and FLYBY at Southwark Playhouse Borough - three productions fuelled by desire, transformation, and emotional chaos. From queer rebellion in 1990s Peru, to Shakespearean lovers lost in a moonlit forest, to a fractured romance drifting through deep space, these shows explore identity, connection, fantasy, and the dangerous thrill of feeling truly alive.

JEEZUS!

Created by award-winning migrant-led company Alpaqa, this explosive musical blends live music, dark comedy, Latin heat, and unapologetic queerness into one gloriously chaotic theatrical experience. Set against the backdrop of 1990s Peru during Alberto Fujimori’s dictatorship, the show follows altar boy Jesús as Catholic guilt collides headfirst with forbidden desire. Winner of the 2025 Untapped Award and The Stage Fringe Five, JEEZUS! returns to London louder, sweatier, and even more unhinged after its Edinburgh Fringe success. Think Bad Bunny meets Bo Burnham by way of Bertolt Brecht.

A Midsummer Night’s Dream – Shakespeare's Globe

Shakespeare’s beloved comedy is transformed into a vibrant communal celebration in this joyful new production directed by Emily Lim. As lovers chase desire through a moonlit forest and mischievous spirits wreak havoc, the Globe becomes a playground of chaos, wonder, and transformation beneath the summer sky. Filled with music, magic, and theatrical playfulness, this immersive take on the classic reminds us why A Midsummer Night’s Dream remains one of Shakespeare’s most enchanting works.

FLYBY – Southwark Playhouse Borough

Originally developed by the National Theatre, this emotionally charged new musical blends intimate relationship drama with the vast loneliness of space. Written by Theo Jamieson and directed by Adam Lenson, FLYBY follows astronaut Daniel after he steals a spacecraft and disappears, leaving filmmaker Emily behind to piece together the truth. Starring Poppy Gilbert, Stuart Thompson, Gina Beck, Rupert Young and Simbi Akande, the musical explores ambition, obsession, mental health, and the dangerous pull between two people who cannot let each other go.

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This episode, we dive into two bold, politically charged productions - A Doll’s House at the Almeida Theatre and Between the River and the Sea at the Royal Court - each interrogating relationships under pressure. From the fractures within a marriage to the complexities of identity across borders, these shows ask what happens when the systems we rely on - love, family, nation - begin to crack.

A Doll’s House – Almeida Theatre

Henrik Ibsen’s groundbreaking domestic drama gets a sharp, contemporary reimagining in this new version by Anya Reiss, directed by Joe Hill-Gibbins. When scandal threatens Nora and Torvald’s seemingly perfect marriage, the rules of their relationship are thrown into question - money, sex, and power all up for negotiation. Romola Garai returns to the Almeida as Nora, bringing intensity and nuance to a role that continues to challenge audiences over a century on. Provocative, unsettling, and darkly modern, this is a revival that leans into the mess of intimacy and control.

Between the River and the Sea – Royal Court Theatre

Written by Yousef Sweid and Isabella Sedlak, this internationally acclaimed piece arrives in London following its success at Berlin’s Maxim Gorki Theater. Part personal story, part political reflection, it follows Yousef - a Palestinian-Israeli man navigating identity, fatherhood, and a complex custody battle across borders. Moving between Haifa and Berlin, the play explores family, fear, and the possibility of imagining a future beyond division. Urgent, intimate, and deeply human storytelling at its core.

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This week, we explore three productions - Dear Jack, Dear Louise, Invisible Me and An Evening Without Kate Bush- each capturing connection in very different ways: through letters, through late-life reinvention, and through music that brings people together. Natalie talks about the up-coming season at the Young Vic with a sneak peep from Artistic Director Nadia Fall. 

From wartime romance to modern-day intimacy and a joyous celebration of fandom, these shows remind us that it’s never too late to feel, to rediscover, and to belong.

Dear Jack, Dear Louise

Written by Ken Ludwig, this charming and deeply moving play tells the true story of two strangers who fall in love through letters during World War II. Jack, a military doctor stationed in Oregon, and Louise, an aspiring actress in New York, build a relationship across distance and time - proving that even in the darkest moments, connection can flourish. Warm, witty and full of heart, it’s a love story built on words, imagination and longing.

Invisible Me

A warm, witty and refreshingly honest exploration of life, love and sex later in life, starring Tessa Peake-Jones. Following three Londoners navigating grief, dating, and rediscovery, the play shines a light on stories we rarely see on stage. With humour and tenderness, it asks what happens when life doesn’t slow down at sixty - and whether there’s still room for connection, intimacy, and reinvention.

An Evening Without Kate Bush

Created and performed by Sarah-Louise Young, this joyful and wildly original show invites audiences to release their inner Kate Bush. Blending cabaret, storytelling and audience participation, it celebrates the fans, the music, and the myth of one of the most iconic artists of all time. Expect to howl with The Hounds of Love, dance through Wuthering Heights, and lose yourself in a night that’s as communal as it is electric.

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This week, we explore three productions that each, in their own way, interrogate identity -through family, through art, and through community. From intimate domestic tensions to bold visual storytelling and vibrant, lived-in spaces, these shows remind us how deeply personal and political our stories can be.

The Holy Rosenbergs

Written by Ryan Craig and directed by Lindsay Posner, this gripping family drama dives into faith, legacy, and generational divide. With a powerhouse cast including Tracy-Ann Oberman, the play examines belief, belonging, and the emotional cost of holding a family - and its traditions - together in a rapidly shifting world.

A Mirrored Monet

Created by Carmel Owen and directed by Christian Durham, this visually striking piece draws inspiration from the world of impressionist art to explore perception and self-image. Blending multimedia with performance, it reflects on how identity is shaped - and sometimes fractured - through memory, observation, and the gaze of others. Cast includes Jeff Shankley and Dean John-Wilson.

Jaja’s African Hair Braiding

Written by Jocelyn Bioh and directed by Monique Touko, this vibrant and deeply human story is set in a bustling Harlem hair salon. Featuring a dynamic ensemble cast, the play celebrates community, culture, and resilience - capturing the humour, struggle, and beauty found in everyday connection.

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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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