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Ahead of her highly anticipated London stage debut at the Marylebone Theatre, Academy Award and Golden Globe-winning actor Christine Lahti sat down for a profoundly intimate conversation with us. In her new solo play, The Smile of Her, she strips away the immaculate veneer of 1950s American suburban mythology to confront the suffocating "silences" of her childhood. We explore the psychological architecture of bringing such an achingly personal piece across the Atlantic—treating the play’s titular "smile" not merely as a coping mechanism, but as a weapon of survival and a dramatic puzzle waiting to be unlocked on stage.

In a very special interview, Christine Lahti reflects on her evolution from pioneering modern television drama in Chicago Hope to making her way onto the Marylebone Theatre stage. Christine opens up about the dark moments of her childhood and aggressive patriarchy that still haunts her today. Indeed, she tells us about the internalised misogyny that she's still confronting today. Our conversation captures a legendary artist refusing to let Hollywood or history edit her past as she finally reclaims authorship over her own life.

The Smile of Her runs at Marylebone Theatre from 10th July - 29th August 2026.

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As Rajiv Joseph's Archduke prepares to open at the Royal Court Theatre, Olivier Award winner Chris Walley sat down with us for an intimate discussion on his craft and his upcoming return to the stage. The show looks at key events and the lives of those involved in the assassination of Archduke Franz Ferdinand. We hear Chris talk about the biting humour in Rajiv Joseph's script and the vigour required working in Lyndsey Turner's rehearsal room. Indeed, the upcoming production assembles together a top tier cast and creative team that includes legendary designer Es Devlin, costumes from Evie Gurney and actors Janice Connolly and Marc Wooton.

In this new interview with Chris Walley, we hear him talk about his love for theatre and performing on stage. We hear him reflect on his recent stage successes such as Orphans - a play he'd been yearning to do since his teenage years. Indeed his recent stage ventures has seen him star in some of the most memorable productions of recent years including Juno and the Paycock opposite Mark Rylance and of course the towering Portia Coughlan at the Almeida Theatre, starring opposite Alison Oliver. It's a fascinating insight into one of the most exciting actors on the theatre scene right now and it will be fascinating to see what Chris Walley does next in the years to come.

Archduke runs at Royal Court Theatre from 20 June - 25 July.

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Ahead of her highly anticipated return to the Kiln Theatre following her debut at the RSC’s The Other Place, the indomitable Ellen Thomas sat down with us to discuss her powerhouse role as Pearl in the world premiere of Martina Laird’s Driftwood. Ellen delves into the psychological weight and socio-political gravity of portraying a fierce matriarch running a downtown gentlemen’s club on the precipice of Trinidadian independence. We hear her reflect on the delicate art of unearthing fragments of vulnerability within Justin Audibert’s atmospheric direction. Our conversation explores her process of physical and linguistic discovery in the rehearsal room, unpacking how the specific cadences of 1950s Trinidadian English serve as vital tools of resistance, identity, and raw survival in a shifting world.

In this captivating new interview, Ellen Thomas offers an introspective look at a legendary career that masterfully bridges the worlds of television mechanics and rigorous stagecraft. We also revisit her recent, triumphant turn on the very same Kiln stage in Zadie Smith’s The Wife of Willesden, which also gave her an opportunity to showcase her ability to play strong, powerful and complex women. What follows is a warm and personal exploration of a powerful actress reflecting on her deep structural history with the Kiln, the changing landscape of British co-productions, and the enduring magic of theatre that dares to challenge who holds power.

Driftwood runs at Kiln Theatre from 4 June - 4 July.

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After nearly a decade since her West End debut in Les Miserables, Amara Okereke has solidified her standing as one of the most exciting performers of her generation. Now making her RSC debut, Amara sat down with us to talk about taking on the role of Ariel opposite Kenneth Branagh's Prospero in Sir Richard Eyre's new production of The Tempest.  Having already played some of the UK's most prestigious and largest stages including the London Coliseum, Sheffield Crucible and Chichester Festival Theatre, Amara tells us about adapting to playing larger houses as she prepares to tackle the Royal Shakespeare Theatre.

In this new interview with Amara Okereke, we talk about her transition from musical theatre to straight plays and her ongoing evolution as a performer. After playing some of the most coveted roles like Eliza Doolittle in My Fair Lady and Laurey in Oklahoma!, Amara has since taken on roles like Stella in A Streetcar Named Desire and took on the lead role in Pulse at the King's Head Theatre. We hear her talk about her desire to keep exploring new characters that challenge her as she continues to evolve as a performer and as a person. She tells us about the mentor / muse relationship between Prospero and Ariel before also sharing her admiration for career role models she's worked with like Janie Dee and Elena Shaddow. Our conversations offers a candid look at the craft of an actress who refuses to be pigeonholed, offering a masterclass in staying authentic while stepping into the formidable weight of a theatrical legacy.

The Tempest runs at the Royal Shakespeare Theatre until 20 June.

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After leaving Canada for the UK, Arthur Boan has worked steadily through some of the most acclaimed production in recent years on stage. For our latest interview, Arthur Boan joined us to unpack how he tapped into Chief Bromdon in Clint Dyer’s electric revival of One Flew Over the Cuckoo’s Nest. We dive into the challenge of playing a silent giant where his most powerful lines are the ones he never actually says. We talk about Clint Dyer's reimagining of Dale Wasserman's play based on Ken Kesey's own classic novel and how they wanted to tackle themes like colonialism and abuse of power.

In an exciting new interview, Arthur Boan opens up about navigating the 360-degree exposure of performing in the round and what it’s like sharing the floor with powerhouses like Aaron Pierre, Giles Terera and Olivia Williams. Arthur also shares his insight into the responsibility of reimagining classic stories like One Flew Over the Cuckoo's Nest and Oklahoma. Indeed, he worked closely with director Daniel Fish on both the multi-award winning revival of Oklahoma and on a radical reimagining of Elektra starring Brie Larson. We hear him talk about the challenges of being an understudy as well now that he's playing in the main cast of a major new production, starring opposite top-tier actors in his own right. It’s a deep, honest look at a performer who is proving that in a world full of noise, the quietest person in the room can sometimes have the most to say.

One Flew Over the Cuckoo's Nest runs at Old Vic Theatre until 23rd May.

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As Marylebone Theatre prepares to open a seminal revival of Arthur Miller's The Price, Elliot Cowan sat down with us to talk about taking on the role of Victor Franz, a man grappling with the physical and emotional debris of a family estate. As a veteran of the stage, he's become known for his ability to inhabit characters defined by internal conflict. Indeed his career has seen him move seamlessly between the physical demands of the stage and the precise requirements of screen acting. The new production at Marylebone reunites him with director Jonathan Munby and serves as a testament to Elliot's versatility, placing him at the heart of a timely exploration of sacrifice, duty, and the American Dream within an intimate performance space.

In this brand new interview, Elliot Cowan opens up about the changing environment for actors and the psychological toll of the actor’s craft. We talked about his role as Victor Franz very much mirrors his own life right now as he approaches 50 and how he himself feels has paid "the price" for longevity in this industry. Our conversation also addressed contemporary challenges facing actors in 2026 as demands on actors continue to shift and evolve. We also reflected on his role as the title character in Macbeth, starring opposite Laura Rogers and how he learned to play to a theatre like The Globe. Indeed, we also delved into his early training as he notes both Laura and John Hopkins who he stars alongside in The Price all trained at RADA around the same time. We learn what has stayed with him since those early years and how he continues to cross paths with peers decades into his career.

The Price runs at Marylebone Theatre from 17th April - 7 June.

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Ahead of his return to the Donmar Warehouse for the first time since 2010’s Polar Bears, multi-award-winning actor Paul Hilton sits down to discuss his role as Richard in the world premiere of Fran Kranz’s Mass. Paul delves into the psychological weight of portraying a father navigating the devastating aftermath of a school shooting under the visceral direction of Carrie Cracknell. We hear him reflect on the unique technical demands of the Donmar’s intimate space, inviting the audience in to join a high stakes meeting in a church basement. Our conversation explored his process of physical discovery in the rehearsal room and the challenge of finding "play" and lightness within such profound human tragedy.

In this new interview, Paul Hilton offers a rare, introspective look at a career that has led younger peers to describe him as one of the greatest actors of our generation. We revisit his transformative time sharing the role of Tom Wingfield in The Glass Menagerie with our former guest Tom Glynn-Carney and his recent, acclaimed transition between Ibsen’s moral pillars, Father Manders and Peter Stockmann. With his own son Kasper Hilton-Hille now following in his theatrical footsteps, Paul shares his reflections on mentorship, the evolving nature of the industry, and why the theatre continues to act as a sacred space for him and his family. We are treated to a warm and deeply personal exploration of a master craftsman as he continues to challenge the boundaries of contemporary theatre.

Mass runs at Donmar Warehouse from 18 April - 6 June 2026.

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Since her debut, West End rising star Gracie McGonigal has gone from strength to strength and is now in the centre of the world's attention on screen, with her milestone casting as Hazel in the fourth season of Netflix’s 'Bridgerton'. We hear her reflect on the significance of the role, noting the production's inclusive approach to disability. This television debut marks a pivotal shift in her career, offering a broader platform for her advocacy for authentic representation within the entertainment industry.

During our interview with Gracie McGonigal, we explored her theatrical roots, as she continues her run as Red Riding Hood in the Bridge Theatre’s acclaimed revival of Into the Woods. We also discussed her earlier work as Susanna Walcott in the National Theatre’s production of The Crucible and her relationship with director Lindsay Turner who she recently reunited with on The Little Foxes. Gracie reflected on the technical contrasts between the rigorous, repetitive nature of live theatre and the fast-paced, intuitive demands of a major television set. Throughout the interview, she emphasized that while she is an advocate for disabled performers, her primary goal remains the pursuit of complex, diverse roles that challenge traditional industry casting standards.

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Ahead of his return to Southwark Playhouse, multi-award winning actor Stuart Thompson sat down to discuss the world premiere of Theo Jamieson's new musical: Flyby. Stuart delves into the psychological complexities of his character, Daniel—an engineer and astronaut discovering himself in a cosmic world. He shares with us his initial reactions to the wondrous material as he returns to the world of musical theatre following on from his award-winning performance in Spring Awakening at the Almeida Theatre. We hear him talk about the different demands and expectations of doing a musical compared to doing a play as he prepares to take the stage opposite the likes of veteran actress Gina Beck and Poppy Gilbert. 

In this very special interview, Stuart Thompson opens up about his rapid ascent in the industry, from his stage debut in A Taste of Honey to winning the Jack Tinker Award for "Most Promising Newcomer" at the Critics Circle Theatre Awards. Stuart offers an introspective look at his conscious choices to play tragic figures, reflecting on his visceral performance as Osvald in the candlelit Ghosts at Sam Wannamaker Playhouse and his portrayal of Edmund in the affecting drama Romans. We hear him talk about the reaffirming nature of these roles which have helped further shape his worldview and deepen his capacity for empathy as both a human and as an actor. We reflect on these roles together and celebrate the magic of the theatre which continues to challenge and enthral him as an actor as he looks forward to new experiences as a performer.

Flyby runs at Southwark Playhouse from 3 April - 16 May 2026. 

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After the recent opening of Man and Boy in the Dorfman Theatre, National Theatre, Laurie Kynaston sat down with us to talk about this rare revival, working with director Anthony Lau on this new production and sharing the stage with acting legends Ben Daniels and Malcolm Sinclair. Our discussion delves into the contemporary revival of Terence Rattigan’s plays and the reasons his character-driven stories remain relevant to modern audiences. Laurie himself made his debut in another Rattigan play: The Winslow Boy and tells us about the full-circle elements of his turn in this latest project. details the history of Man and Boy, noting its initial lack of success , and describes his first impressions of the script and the character of Basil Anthony. The conversation also addresses the technical challenges of performing in the round and the spatial awareness required to remain visible to a surrounding audience. Additionally, the interview examines Kynaston's history of portraying strained father-son dynamics , covering the emotional weight of The Son and the logistical process of joining the cast of Long Day’s Journey Into Night on short notice.

In our new interview with Laurie Kynaston, he shares his personal outlook on the industry and reflections on his career progression. He addresses the socio-economic barriers currently facing the theatre, specifically the issues of rising ticket prices and classism. We hear him reflect on his own beginnings at Theatr Clwyd in North Wales, while expressing concern that potential audiences are being priced out of the arts. As he transitions into more prominent leading roles, he shares his optimism about the future as well as his gratitude to being welcomed in certain circles in the theatre world. It's a truly endearing conversation and as Laurie continues through his 30s, we look forward to seeing his shift from younger male parts to mature roles that reflect his already wise worldview.

Man and Boy runs at Dorfman Theatre, National Theatre until 14 March.