Theatre Audience Podcast

This episode, we’re tackling three wildly different theatrical experiences: the bonkers horror-comedy of Crybabies: The Scaring at Soho Theatre, the musical adaptation of Charlotte Brontë’s Jane Eyre at Southwark Playhouse, and Tilda Swinton’s remarkable return to the stage in Man to Man at the Royal Court Theatre.Crybabies: The ScaringGenuinely scary one minute and completely ridiculous the next, The Scaring proves exactly why comedy trio Crybabiesbecame such a hit at the Edinburgh Fringe.Directed by Jon Brittain, this fast-paced horror-comedy sees the trio transform themselves into a gloriously chaotic collection of characters as an increasingly bonkers story unfolds. It’s inventive, unpredictable and performed with the kind of chemistry that comes from three comedians completely trusting one another - even when everything around them descends into madness.We discuss the joy of watching performers commit wholeheartedly to the absurd, how successfully the production jumps between laughs and genuine scares, and why this Fringe favourite feels right at home at Soho Theatre.Jane Eyre: The MusicalCharlotte Brontë’s literary classic gets the musical treatment at Southwark Playhouse in an ambitious new production with a book by John Caird and music and lyrics by Paul Gordon, directed by Caird alongside Megan McGinnis.There are definite echoes of Les Misérables in this sweeping retelling of Jane’s journey from a difficult childhood to her complicated relationship with Mr Rochester. Charlie Burn confidently leads a terrific ensemble as Jane, but one of the evening’s great discoveries is Emily-Rose Samuel, making her professional stage debut and proving utterly captivating as both young Jane and Adèle.We discuss the production’s strong performances, effective design and score, while asking whether trying to include quite so much of Brontë’s enormous story ultimately weighs the musical down. It’s beautifully staged - but could a little less Jane Eyre actually have given us more?Man to ManAnd finally, one of the theatrical events of the year.Tilda Swinton returns to the Royal Court in Man to Man, Manfred Karge’s extraordinary play translated by Anthony Vivis and revised by Stephen Unwin.From curtain up to curtain down, Swinton never leaves the stage. Surrounded by the props of the production inside Bunny Christie’s stark, brilliantly illuminated white box, there is nowhere for the performer to hide - and nowhere else for the audience to look.The result is an astonishingly exposed performance, filled with surreal theatrical choices, moments of complete stillness and an extraordinary connection between Swinton and her audience. We discuss her ability to actively listen to a room, the moments where actor and character seem almost to blur together, and a performance that deservedly brought the audience to its feet.With lighting by Ben Ormerod and the creative team reunited for this landmark revival as part of the Royal Court’s 70th anniversary season, Man to Man becomes more than simply an opportunity to see a major screen star on stage. It’s a reminder of what an exceptional theatrical performer Tilda Swinton is.And in a rare Theatre Audience Podcast occurrence, Darren and Natalie actually saw this one together - so they compared notes on an unforgettable night at the Royal Court.Three shows. Three completely different theatrical languages. From screams and silliness to Brontë and Swinton, there’s plenty to unpack.

The former Royal Ballet Principal joins us to talk about an extraordinary life in dance, leaving the stage behind and his vision for the future as Artistic Director of the Royal Academy of Dance.In this special In Conversation episode, Darren sits down with Alexander Campbell, Artistic Director of the Royal Academy of Dance, to explore a remarkable career that has taken him from a young dancer growing up in Sydney to the very highest levels of classical ballet.Alexander reflects on discovering dance, training at The Royal Ballet School and joining Birmingham Royal Ballet before returning to The Royal Ballet, where he rose through the company to become a Principal dancer in 2016.But what does it really take to sustain a career at that level? Alexander talks candidly about the discipline and pressures behind the apparent effortlessness audiences see on stage, the roles and performances that have stayed with him, and the enormous transition that comes when a dancer decides it's time to step away from performing.Now, as Artistic Director of the Royal Academy of Dance, Alexander is looking firmly towards the future. We discuss his ambitions for the organisation, nurturing the next generation of dancers, widening access to dance and how ballet can continue to evolve while respecting the traditions that have shaped it.It's a warm and insightful conversation about ambition, artistry, leadership and reinvention - and, above all, a lifelong love of dance.

In this episode, we’re joined by Carine and Frances Gilbert - The Gilbert Twins - identical twins, comedians, writers and content creators who have built an online audience of more than three million followers.After creating hundreds of viral comedy sketches, the twins are returning to their musical theatre roots with Under the Influence, their original musical comedy co-written with Shona Maule. Following a critically acclaimed run at the Edinburgh Festival Fringe, the show has now transferred to London’s King’s Head Theatre. And the inspiration behind it? They really did go to couples therapy together.We chat to Carine and Frances about what led two sisters into couples therapy, turning that very personal experience into comedy, and the strange reality of building a career around the relationship you’re simultaneously trying to understand.They open up about co-dependency, sisterhood and finding an individual identity when the world has always viewed them as a pair. We also explore the pressures of having millions of people watching online, the leap from 60-second sketches to telling a story on stage, writing about each other without destroying the relationship, and what Edinburgh audiences taught them about their own show.Plus, we discover whether there are limits to what they're prepared to reveal about one another - and ask the rather terrifying question: what happens if one twin gets the dream opportunity and the other one isn't invited?A funny, candid and wonderfully chaotic conversation about twinhood, therapy, social media, musical theatre and finding your own voice when you've spent your entire life sharing one.

This episode, we travel from the wonderfully ridiculous world of P.G. Wodehouse to the glamour, tragedy and conspiracy surrounding Marilyn Monroe. We review Jeeves Takes Charge at Charing Cross Theatre and Who Killed Marilyn? at the Emerald Theatre: two productions exploring famous characters and cultural icons in very different ways.Jeeves Takes ChargeThe unmistakable world of P.G. Wodehouse comes to the stage in Jeeves Takes Charge, bringing with it the hapless Bertie Wooster, his extraordinarily capable valet Jeeves and all the misunderstandings, social disasters and gloriously silly situations that inevitably follow them. At the centre of it all is Sam Harrison, taking on the extraordinary challenge of playing all 22 of P.G. Wodehouse’s much-loved characters himself - from Jeeves and Bertie Wooster to Florence Craye, Gussie Fink-Nottle, Bingo Little, Uncle Willoughby and Aunt Dahlia. It’s a one-man comic juggling act requiring lightning-fast character changes, impeccable timing and seemingly endless energy.At Charing Cross Theatre, we enter a world of impeccable manners, eccentric characters and quintessentially British comedy as Jeeves once again attempts to rescue Bertie from his own spectacularly questionable decision-making.We discuss whether Wodehouse's much-loved humour translates successfully to the stage, the joy of watching Jeeves remain several steps ahead of everyone around him and whether there's still an audience for this delightfully old-fashioned world of troublesome relatives, romantic entanglements and upper-class chaos.Who Killed Marilyn?Over at the Emerald Theatre, Who Killed Marilyn? attempts to uncover the mystery surrounding the death of one of the most famous women of the twentieth century.Pixie Lott takes on Marilyn Monroe in Sharleen Cooper Cohen's play, which explores the theory that Marilyn's relationships with the Kennedy family and connections to organised crime may have played a part in her death. At the centre of the story is Marilyn's hidden notebook, containing her private thoughts, poetry and potentially dangerous secrets shared by some very powerful men.But does the production reveal the complicated woman beneath the famous image? We discuss Lott's performance, the frustrating decision to give a singer of her ability so little opportunity to sing and a production that too often presents its supporting characters as broad caricatures. There are welcome exceptions, particularly Julie Armstrong as Marilyn's troubled housekeeper and keeper of secrets, Eunice, alongside Benjamin Dilloway as Arthur Miller and Paul Kane as Robert Kennedy.There's an intriguing conspiracy thriller somewhere inside Who Killed Marilyn?, but we ask whether the production digs deeply enough into Marilyn herself - the intelligent, witty, ambitious and politically curious woman behind that instantly recognisable breathy voice and Hollywood image.From Jeeves quietly cleaning up Bertie Wooster's latest catastrophe to Marilyn Monroe becoming entangled with some of America's most powerful men, it's an episode filled with famous names, secrets, scandal and people desperately trying to keep trouble behind closed doors.

Our Edinburgh Fringe reviewer Franki Rameaux joins us for a special Theatre Audience Podcast round-up, bringing back her verdict on some of the shows that caught her attention at this year's festival.The Edinburgh Festival Fringe is where theatre gets to take risks. New writing meets experimental performance, musicals emerge from the most unexpected places, artists test bold ideas in tiny rooms and audiences take chances on shows they might never encounter anywhere else. And with thousands of productions competing for attention, sometimes the real joy is discovering something you knew absolutely nothing about before walking through the door.Franki certainly put in the miles this year, seeing a huge range of work across the Fringe. In this episode, we focus on seven productions: See You Tomorrow, HAM, Belly, January 6th: The Musical, Bodytrapped, Under the Influence and Bliss.From intimate storytelling and provocative new writing to comedy, music and performances tackling identity, politics and the pressures of contemporary life, it's an eclectic snapshot of exactly what makes Edinburgh such an exciting - and occasionally unpredictable - place to experience theatre.What surprised her? What stayed with her? Which productions deserve a life beyond Edinburgh? And, most importantly, which shows would she tell you to book if you had the chance?Join Franki and the Theatre Audience Podcast team as we unpack the highs, discoveries and talking points from another gloriously packed Edinburgh Festival Fringe.Seven shows. Seven very different experiences. Welcome to our Edinburgh Fringe Round-Up.

This episode, we journey from the supernatural world of a Japanese manga phenomenon to one of America’s most notorious murder mysteries, before gathering under the Jellicle moon for a bold new production of a musical theatre classic.We review Death Note: The Musical at the Barbican, the true-crime musical Bury the Hatchet at Southwark Playhouse and Andrew Lloyd Webber’s CATS, reimagined for the magical outdoor setting of Regent’s Park Open Air Theatre.Death Note: The MusicalThe globally successful manga thriller comes to the London stage in an exhilarating new musical. When brilliant student Light Yagami discovers a mysterious notebook that gives him the power to decide who lives and who dies, his determination to create a better society quickly descends into obsession.His actions attract the attention of the brilliant and elusive detective L, beginning an increasingly dangerous battle of intellect, justice and morality. Created in collaboration with the original Japanese producers HoriPro, the musical features a score by Frank Wildhorn, lyrics by Jack Murphy and a book by Ivan Menchell.Bury the HatchetOn 4 August 1892, Andrew and Abby Borden were brutally murdered in their Massachusetts home. Andrew’s daughter, Lizzie Borden, became the prime suspect - but was she really responsible for one of history’s most infamous crimes?A spirited company of three actor-musicians re-examines the case through a lively mixture of true crime, courtroom drama, dark comedy and live folk music. Familiar bluegrass songs, irreverent commentary and sharply performed storytelling give the legendary tale a fresh and thought-provoking theatrical twist.CATSAndrew Lloyd Webber’s global musical sensation receives a bold new production in the magical surroundings of Regent’s Park Open Air Theatre.Inspired by T.S. Eliot’s *Old Possum’s Book of Practical Cats*, this reimagining brings together the strays and rebels of London beneath the Jellicle moon. Each hopes to be chosen for a new life as they introduce themselves through some of musical theatre’s most famous songs, including Macavity: The Mystery Cat**, Jellicle Ball** and the chart-topping Memory.Directed and choreographed by Regent’s Park Open Air Theatre Artistic Director Drew McOnie, this fresh take on CATS promises to be one of the major theatrical events of 2026.

This episode, we're reviewing two wildly different shows with one thing very much in common: relationships heading spectacularly off the rails. Natalie and Darren experience Matthew Bourne's seductive dance thriller The Car Man, while Hot Mess turns the entire relationship between Earth and Humanity into one brilliantly funny, pop-fuelled musical romcom.The Car ManMatthew Bourne's The Car Man roars back onto the stage with its intoxicating mix of dance, desire, jealousy and murder.Loosely inspired by Bizet's Carmen, Bourne relocates the action to a hot and claustrophobic 1960s American town, where the arrival of handsome stranger Luca sends passions spiralling dangerously out of control. Ashley Shaw is electric as femme fatale Lana, opposite Will Bozier as her doomed lover Luca, leading an exceptionally talented New Adventures ensemble through Bourne's unmistakable blend of cinematic storytelling and thrilling choreography.Darren and Natalie discuss the extraordinary chemistry of the company, the production's sensuality and how Bourne takes the familiar DNA of Carmen and transforms it into something entirely his own. Dark, sexy and deliciously dangerous, The Car Man is another reminder of why Matthew Bourne remains one of British theatre's great storytellers.Hot MessAfter a billion years of bad dates, Earth has finally found the one: Humanity. What could possibly go wrong? Quite a lot, as it turns out.Created by the award-winning team behind 42 Balloons, Hot Mess features music and lyrics by Jack Godfrey and a book and direction by Ellie Coote. This hugely entertaining new British musical transforms the climate crisis into a love story between Earth and Humanity - complete with attraction, arguments, break-ups and some seriously catchy pop songs.Danielle Steers is sensational as Earth, with Morgan Gregory bringing enormous charm to Humanity as their passionate relationship gradually becomes, well... a hot mess.But underneath the laughs is something surprisingly thoughtful. The environmental message never feels preachy, instead using comedy to explore what could happen if Humanity continues taking Earth for granted. We discuss why theatre is such a powerful place to tell stories about the climate crisis, the show's ingenious staging, its infectious score and an ending that's worth the ticket price alone.Funny, clever, informative and bursting with originality, Hot Mess confirms Jack Godfrey and Ellie Coote as two exciting voices in new British musical theatre.Plus, we're playing Let It Out from Hot Mess during the episode.Two shows about irresistible attraction, destructive relationships and what happens when desire gets seriously out of control. One involves murder. The other could involve the end of the planet. No pressure.

This episode, we're talking audience participation, legendary music and two productions that couldn't be more different. Darren heads to the Mill at Sonning for the interactive comedy phenomenon Shear Madness, while Natalie and Darren take their seats for Sinatra: The Musical, a stylish new portrait of one of the twentieth century's greatest entertainers.Shear MadnessCan you solve a murder before the cast does?The international comedy sensation Shear Madness arrives at the Mill at Sonning, bringing with it a unique blend of murder mystery, improvisation and audience participation. Set inside the delightfully chaotic Shear Madness hair salon, an ordinary day quickly descends into murder, mayhem and outrageous comedy as everyone becomes a suspect—and it's up to the audience to crack the case.No two performances are ever the same, with each audience shaping the investigation and deciding how the story unfolds. Darren discusses why the show's improvisation is its greatest strength, the joy of returning knowing the experience will be completely different, and how the intimate setting of the Mill at Sonning makes audiences feel part of the action from the moment they walk through the doors.We also celebrate a brilliantly committed cast, including Daniel Cane, whose comic timing as Tony Whircomb is a standout, Rosaleen Burton's superb control of the audience, and Natalie Ogle, who gamely endures a live hair wash every performance. Directed by Sally Hughes, with Alex Marker's wonderfully detailed fully functioning salon set, this is a hilarious evening of theatre where the audience truly becomes part of the show.Sinatra: The MusicalOne voice changed popular music forever… but who was the man behind the legend?Sinatra: The Musical charts the extraordinary life and career of Frank Sinatra through more than twenty of his greatest songs, including That's Life, One For My Baby, The Best Is Yet to Come and I've Got the World on a String.Joel Harper-Jackson delivers a charismatic performance as Sinatra, joined by Ana Villafañe as Hollywood icon Ava Gardner and Phoebe Panaretos as Nancy Sinatra. Directed and choreographed by Kathleen Marshall, with a book by Joe DiPietro, the production combines live music, stylish choreography and timeless classics to explore the triumphs and personal struggles behind one of entertainment's biggest stars.Natalie and Darren reflect on the performances, the thrill of hearing Sinatra's iconic catalogue performed live by a full band, and whether the show fully captures the darker complexities of the man behind the music. Plus, don't leave your seat too quickly - the post-curtain call surprise is well worth staying for.From solving murders to singing classics, this week's episode celebrates two productions that remind us theatre is at its best when it brings audiences right into the heart of the story.

This episode, we're stepping back into the years before the Second World War with two gripping historical dramas. One revisits the assassination that ignited the First World War, while the other imagines a pivotal royal visit that helped shape the alliance between Britain and America. Packed with political intrigue, sharp humour and outstanding performances, these productions remind us that history is often decided by ordinary conversations - and extraordinary choices.ArchdukeCould three hungry young men really change the course of history? Rajiv Joseph's brilliantly dark comedy Archduke takes us to Belgrade in 1914, where three inexperienced revolutionaries are handed a sandwich, a pistol and a mission that will alter the twentieth century forever. What follows is a witty, unsettling and unexpectedly funny examination of radicalisation, youthful idealism and the terrifying consequences of political violence.Directed by Lyndsey Turner and featuring an inventive design by Es Devlin, the European premiere boasts a terrific cast led by Chris Walley, Abraham Popoola, Stanley Morgan, Janice Connolly and Marc Wootton. We discuss how the play balances absurd comedy with historical tragedy, and why its themes of disillusioned young men and extremist ideology feel alarmingly relevant today.SpringwoodHistory is also shaped around the dinner table. Richard Nelson's quietly captivating new play transports us to Springwood, the country home of President Franklin D. Roosevelt, in the summer of 1939. As King George VI and Queen Elizabeth become the first reigning British monarchs to visit the United States, a seemingly informal weekend of picnics, hot dogs and polite conversation carries enormous political significance, with Europe standing on the brink of war.Led by superb performances from Robert Lindsay as Franklin D. Roosevelt and the wonderfully understated Jemma Redgrave as Eleanor Roosevelt, alongside Andrew Havill as King George VI and Rebecca Night as Queen Elizabeth, Springwood reveals the private doubts, humour and humanity behind some of the twentieth century's most influential figures.We discuss Richard Nelson's beautifully observed writing, the subtle humour running throughout the play and why this intimate portrait of diplomacy feels remarkably timely in today's uncertain political landscape.Two historical dramas. Two moments that shaped the modern world. One episode exploring how individual choices can echo across generations.