The WhatsOnStage Podcast

Awards season may be over but the theatre news does not slow down! James Graham is back with a brand new play landing direct in the West End, while news from New York sees that indomitable bear Paddington making its furry way to Broadway. Also - Judi Dench will have a theatre named after her, and there's great news from the Bush as part of its 2026 season. Plus, Sarah mulls over what she thinks of the Traitors being turned into a five-part-cycle stage play experience.

In this bonus episode of the WhatsOnStage Podcast, Alex sits down with Stephen Lambert, one of the masterminds behind the hit TV series The Traitors, as well as writer John Finnemore and director Rob Hastie, who explain how exactly they plan to bring The Traitors to the stage – in a multi-show experience like nothing else seen in the West End.

If you're looking for our main episode, we released it two days early as the dust settled on this year's Tony Awards. That said, we had to get a bonus episode in to help with your weekly theatre fix, so below is our interview with the two stars of the forthcoming West End transfer of Cyrano de Bergerac, Adrian Lester and Susannah Fielding, who will be returning to the roles of Cyrano and Roxane for the Noël Coward run of Edmond Rostand's play, adapted by Simon Evans and Debris Stevenson. In the interview, the pair discuss reinterpreting the role of Roxane, why a nose had to be shown on stage and the different rhyming structure bedded into the text. Oh – and if you're looking for the project Lester refers to, it's the Dartmouth Scar Experiment. 

What's this? The main episode of the week coming out two days early? As the dust settles on another Tony Awards season, Sarah and Alex have a lot to chew on – topics include Brits thriving on Broadway, the sacrifices mothers have to make to succeed in the performing arts and, after an incident at Inter Alia, the mobile phone etiquette debate. If that's not enough, they also pick the six summer shows they can't wait to see - with shows in Manchester, Stratford-upon-Avon, London and Chichester (if you're travelling south via the M6, M40, A3 and A27).

While Alex has been manning the fort back in London, Sarah has sailed over to the Great White Way for a small Broadway bonanza ahead of this weekend's Tony Awards. She observes the "Miller moment" that seems to be ongoing with productions of Death of a Salesman, All My Sons and Broken Glass all making headlines over the last year. After sampling the best New York has to offer, she makes some predictions ahead of Sunday's glitzy event.

In this bumper episode, we are celebrating the world of new musicals with two great insights into the experience of staging new world. In the first part, we bring you our on-stage discussion with the music team of Redcliffe, Jordan Luke Gage's brand new musical having its world premiere at Southwark Playhouse Borough. In part two, we head across the Atlantic to talk to Sam Tutty and Christiani Pitts, the two "strangers" bring baked goods to the masses in the five-star musical Two Strangers (Carry A Cake Across New York), playing now on Broadway - ahead of this Sunday's Tony Awards.

As part of their long-running series, Alex and Sarah end the 00s with a bumper exploration of two pivotal years for playwriting this century – with Jez Butterworth's Jerusalem, Lucy Prebble's Enron, John Logan's Red, Lynn Nottage's Ruined and so many more to mull over. But which plays will be Sarah's top picks? And what have we forgotten from the month before?

Ten years on from Waitress' Broadway bow, we had a virtual chat with composer and lyricist Sara Bareilles to discuss the lasting and profound effect of the show, from its much-loved numbers to its now-instantly recognisable characters. What's more, Bareilles is working on a brand new musical, and reflects on this second-time experience as she prepares to bring it to the stage. 

In another busy week Sarah and Alex sit down to discuss whether Peter Schaffer’s Equus is really the Adolescence of its day - and how relevant Brecht’s warnings about totalitarianism and war still feel. Plus a new report on theatre pricing prompts some new thinking