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When Earl Carpenter left The Phantom of the Opera 12 years ago, he had completed over 1000 performances in the titular role. Now, having performed the role on tour, sung the songs in concert and played various other roles since, Earl Carpenter has returned to Her Majesty's Theatre for a limited time to play The Phantom. In this special interview, we hear what attracted Earl back to the hit West End show over a decade after his last run in this production. He remains humble throughout the conversation, describing the experience as extraordinary, returning to the same dressing room and facing a standing ovation at the end of each performance.

For many fans, Earl Carpenter ranks as one of the most special Phantoms having played so many performances in the past. His return marks an exciting time in the production's history as the show continues to play to enraptured audiences each week. In this interview, Earl also talks about his experience as a producer with Ginger Boy Productions as we discuss the challenges that the theatre industry is currently facing. 

Earl Carpenter plays The Phantom of the Opera until Saturday 1st April.

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Since the 1970s, Marion Bailey has worked pretty consistently on screen and on stage in a huge variety of films, plays and TV shows. Today, she is currently starring in a brand new production of Medea, directed by Dominic Cooke at the brand new @Soho Place Theatre. The show explores the themes of injustice and revenge, and Marion kindly took the time to discuss how the show has remained relevant throughout the years. In this new production, audiences will also be treated to a lesser known translation by Robertson Jeffers, who Marion describes as "breathtaking". Sophie Okonedo and Ben Daniels will also be starring alongside Marion as Medea and Jason/Creon/Aegues respectively.

Marion Bailey is perhaps best known to audiences for her collaboration with Mike Leigh on films such as Meantime, Secrets & Lies and Mr. Turner where she received universal critical acclaim for her portrayal of Mrs Booth. More recently, Marion also collected 2 SAG awards alongside Season 3 and 4 cast of Netflix drama The Crown for her portrayal of Queen Elizabeth, The Queen Mother. In this special interview, Marion also reveals her thoughts on controversy around the latest season of The Crown as well as which other Royal Family member she'd be interested in playing. Just after the Queen passed away last year, Marion also reprised the role of Q in Handbagged and she shares her memories of playing the role during that time of national mourning. Now, as she plays the Nurse in Medea,  Marion reflects on her 40 year career as a true character actress, collaborating with various acclaimed directors, writers and actors. We hear her share her gratitude to those who have supported her and it seems we still have a lot to look forward to from Marion Bailey in the years ahead.

Medea plays at @SohoPlace Theatre until Saturday 22nd April.

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For the last 30 years, Janie Dee has cemented herself as one of the greatest leading ladies to ever grace the stage. From musicals to plays to cabarets and concerts, Janie has done it all.  In this special interview, she looks back on her career and how her early struggles have led her to see each new job opportunity as a "big present". The conversation starts with her talking about her relationship with Theatre Royal, Bath where she worked with the Peter Hall Company on a number of productions and most recently returned to the Somerset theatre for An Hour and a Half Late. We also hear Janie look back on some recent musical theatre highlights such as A Little Night Music,  The Boy Friend and Follies where she earned her most recent Olivier award nomination. Janie Dee is herself a two time Olivier Award winner, winning for the National Theatre's legendary production of Carousel and also for originating the role of Jacie in Alan Ayckbourn's Comic Potential.

Today, Janie's passion seems to lie mostly with sustainability and climate action. In 2020, she organised the London Climate Change Festival which saw scientists and artists come together to discuss solutions to ongoing climate crisis. The festival led to the Song for Nature concert that was broadcast around the world, bringing together world class performers onto the London Coliseum stage with the English National Opera orchestra and chorus. In our interview, Janie voices her concerns at how slowly theatres are adapting to achieve carbon neutrality and even suggests she might stop performing in a bid further reduce her own carbon footprint. We hear her talk about the ongoing impact humans are having on the planet with landfill sites forming lakes and the impact cruise ships are having on marine life.

Ultimately, we're treated to a fascinating interview with Janie reflecting on her rich career as well as on the real-life climate crisis. Recently turning 60, we can expect Janie to continue working in some capacity and we look forward to seeing what she does next. 

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With the Donmar Warehouse about to open a brand new production of Lillian Hellman's Watch on the Rhine, the incredible Kate Duchêne sat down to talk about the new show and why Hellman's writing feels particularly resonant today. Despite never doing a Hellman show before, she tells us about how her writing stands out among her contemporaries and why she's so excited to bring this show to a 2022 audience.  In a world as politically divided as it is today, the show feels particularly relevant and will see Kate star alongside a stellar cast that includes Patricia Hodge and Caitlin Fitzgerald. We also get to hear Kate talk about reuniting with Ellen McDougall following their joint collaboration with Katie Mitchell on the National Theatre's production of Beauty and the Beast and why the Donmar Warehouse felt like the perfect venue for a revival of Watch on the Rhine.

Kate Duchêne has worked extensively in theatre for over 30 years, starting out in Edinburgh before moving to the Royal Shakespeare Company and then to the National Theatre where she has notably worked with director Katie Mitchell. With credits spanding from Hecuba in Women of Troy to Clytemnestra in Iphigenia in Aulis to God in Everyman, Kate Duchêne is truly one of our most remarkable actresses working today. In this very special interview, we hear her talk about her illuminating career including reflections on playing Miss Hardbroom in the hit original TV series adaptation of The Worst Witch. As she prepares to play Anise in Lillian Hellman's timely play, we also get a glimpse of Kate's warm personality and wonderful sense of humour.

Watch on the Rhine plays at Donmar Warehouse from 9 December to 4 February with tickets available now from the Donmar Warehouse website.

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Affectionately known as SLD in the industry, Sophie-Louise Dann is undisputedly one of the most impressive leading ladies in the West End, having taken on roles in musicals, plays and even in opera. With a long list of credits, in unsurprising to see that decades into her career, she remains one of the most formidable actresses of her generation. Currently playing Madame Morrible in Wicked in the West End, there seems to be no end in sight for what Sophie-Louise might achieve. Having already played a solo cabaret at The Crazy Coqs, performed Sondheim at the Chatalet in Paris and workshopped various roles, we look forward to what ever else she has planned for the future.

In this special interview, Sophie-Louise Dann sits down to talk about her love for watching young talent grow and taking on a mentoring role when working with younger actors. Indeed, she shares much praise for the young ensemble actors she's currently working with on Wicked and offers encouragement to those wanting to join the industry. As we talked through some of her credits, Sophie-Louise mentions in particular her fondness for Lend Me a Tenor which she describes as having changed her career path and led her to this place today. A powerful soprano, she earned rave reviews for her portrayal of Diana Divane, later earning an Olivier nomination for that role. During our interview, we also hear her hint towards potential future work as well as sincere reflections on her career highlights. Throughout our conversation, she remained highly spirited and her infectious laugh and smile radiated throughout the chat.

Wicked continues it's run at the Apollo Victoria Theatre, London and is currently booking to 28 May 2023.

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Over the last decade, Dawn King has continued to excite theatregoers with intriguing works like Foxfinder, The Trials and her adaptation of Brave New World. Today, Dawn King is looking forward to Boundless Theatre's new production of her play: Addictive Beat, starring Fionn Whitehead and Boadicaa Ricketts. The show tells the story about two music-loving friends who create a beat that's euphoric and addictive. Set in the immersive space of the Dilston Gallery at Southwark Park, audiences can expect to find themselves enraptured by Boundless Theatre's production which also features brand new music by DJ Anikdote and an original score by Dom Coyote. In the interview, Dawn reveals that the idea for Addictive Beat had been around for a while and whilst the end product has changed from it's initial genesis, she's very excited for audiences to see her new work.

It's been a great year for the playwright with The Trials also recently finishing a sold-out run at Donmar Warehouse, where she challenged her audience to think about their impact on the changing climate. In this special interview, Dawn King sits down to reflect on the past decade which has seen her plays presented across the world. We also get to hear her talk about her upcoming adaptation of The Cherry Orchard which she is developing with Katie Mitchell as well as her screen adaption of Foxfinder. She admits to being an unconventional playwright, often writing pieces that she deems "high-concept" where audiences leave asking themselves questions based on ideas from her text. Throughout the conversation, Dawn maintains a humble tone as she reminds us about the challenges of being a writer but still encourages aspiring playwrights to be tenacious and not give up on their dreams. It seems we can expect more to come from her in the years ahead and we look forward to what else she brings us in the future.

Addictive Beat runs at Dilston Gallery, Southwark Park from 21st September - 7 October with tickets available from the Boundless Theatre website now!

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For nearly a decade, David Ames was a fixture on the nation's household's TV screens with credits for Doctor Who, Doctors and of course as Dominic Copeland in Holby City. Earlier this year however, David made a highly anticipated return to the London stage in Seven Dials Playhouse's production of Steve as the eponymous character. Now, he is appearing in Horse-Play, a new show at Riverside Studios by Ian Hellard. During his career, he's established himself as a highly versatile actor, taking on a range of roles on screen and stage. In the LGBTQ+ community, he's also been widely regarded as a sex symbol with his good looks and charm. Hellard's new play will see David play Tim/Butterfly, opposite a cast including Matt Lapinskas, Jake Maskall, Stephanie Siadatan and Nick Sampson.

In this exclusive interview, David Ames openly talks about his experience as an openly gay actor, playing roles that give voice to the LGBTQ+ community which he is very proud to be a part of. He talks to us about staying safe on sets and photoshoots and why he feels it's so important to be open with ourselves and each other about sex. Throughout our conversation, David remains candid about his own experiences working in the industry and how he felt his life changed following his casting in Holby City as a main character. As he looks towards entering his 40s, David reflects on the past decade and the numerous encounters he's had with fans and peers alike. We can feel his bubbly personality through his voice as he recounts moments in his career that has led him to this point today.

Horse-Play runs at Riverside Studios, Hammersmith until 24 September and tickets are available now!

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After playing the actor both on tour and in the West End run in The Woman in Black, Matthew Spencer has returned to the Fortune Theatre to help celebrate the show’s 13,000th performance. As part of the celebrations, the production opened a wave of tickets for £13, allowing a wide range of audiences to see Matthew Spencer play opposite Julian Forsyth, another veteran actor associated with The Woman in Black. Since 1989, The Woman in Black has been spooking and delighting audiences with it’s classic set and timeless script. For most, it's not surprising that the show remains one of the longest running in the West End and in 2022, Matthew tells us about what a treat it has been to get to return to the show when it's experiencing such a glorious milestone.

Matthew Spencer in this interview reflects over his career as he returns to The Woman in Black for a third time. In his 17 year long career however, Matthew has also worked with the likes of Robert Icke on Animal Farm  and 1984  as well as featured in productions at some of our most prestigious venues like the Almeida Theatre, the Watermill Theatre and Theatre Royal, Bath with the Peter Hall company. He compares the experience of performing for different audiences around the country and also shares his hope to do more screen work for the future. Throughout the interview however, he re-enforces the point on how The Woman in Black remains a masterpiece in the theatre and hopes that the West End run will carry on for many more years.

The Woman in Black is currently playing at The Fortune Theatre in London and is currently booking until 29 April 2023.

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For the best part of a decade, Jordan Broatch has already been performing up and down the country in various productions from Ellen Kent operas to playing in Oliver at Theatre Royal, Drury Lane. Since graduating however, Jordan has established themselves at one of the most exciting newcomers onto the London stage, starring in 2 stellar productions at Southwark Playhouse. Many musical theatre fans saw them redefine the role of J. Bowden Hapgood in Anyone Can Whistle, starring opposite Alex Young and Chrystine Simone. The show was one of the biggest Sondheim revivals since the composer's passing and critics hailed Jordan as a "blazingly engaging" performer. An openly non-binary performer, they have also been a vocal advocate for more diversity and representation of queer characters in the industry. It seemed particularly appropriate that in Lift, he got to play an Avatar - one that is not male or female. Whilst the role was less showy than Hapgood, Jordan remained enthusiastic about the time spent in the show and now proudly calls their company members friends.

In this exclusive interview, Jordan Broatch sat down to reflect over the past year so far and expressed his gratitude for getting to make such an impressive debut. It doesn't seem surprising at all to learn that they've been involved in the industry for some time, albeit only recently graduating as an adult performer. Still, they are humble and insists they have more to learn and indeed, we should look forward to whatever Jordan has lined up next. They also describe to us their ambitions for their career, telling us their love for The Other Palace as well as Southwark Playhouse where they made their debut. Jordan also makes it clear they will only work on projects that make them happy and encourages others to do the same, hinting they would also be keen to explore work outside the realms of musical theatre too. It's a fascinating to hear the young graduate speak about his experience and we look forward to watching them continue to flourish in their career.

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For the best part of three decades, Joanna Ampil has been recognised as one of the most prolific musical theatre acts to arrive onto the scene, taking on roles like Mary Magdalene in Jesus Christ Superstar, Grizabella in Cats and Kim in Miss Saigon. After receiving a huge reception as Bloody Mary in South Pacific last year at Chichester Festival Theatre, she is reprising the role in the classic Rodgers & Hammerstein musical at Sadlers Wells Theatre, before heading on tour with the show. Although traditionally seen as a caricature, in Daniel Evans' new production, Joanna is given the opportunity to humanise this character and make her someone audiences are able to empathise with. It's an opportunity that she's fully taken advantage of as we are invited to see Bloody Mary through a new lens. Of course, Joanna's portrayal has also meant we are treated to a terrific performance as well as luscious vocals.

In this new interview, Joanna Ampil sat down to talk about how she felt it was really important to return to the show to tell Bloody Mary's story. After performing in a concert production of South Pacific in Manilla a few years prior to the Chichester run, she tells us about how surprised she was by how richly deep and antiracist the show really is. We also hear Joanna share her hopes for the musical theatre industry as in many ways, the industry is still continuing to recover from the effects of the COVID-19 pandemic. She hopes audiences will return on larger scales to support the industry and that shows like South Pacific will continue that drive. As she prepares to go on tour, we hear her also talk about her experience working on productions all around the world from her home in the Philippines to the rest of Asia and of course here in the UK. It's a fascinating listen and we look forward seeing Joanna continue her role on tour in the coming weeks.

South Pacific plays at Sadler's Wells Theatre until 28 August and a list of tour dates can be found on southpacificshow.com