Podcasts about Adelphi Theatre

Bloated, bald and playing bongos on the bum. Irish comedian and Instagram SENSATION Kyla Cobbler joins Mel in the afterlife. LISTENERS!!! Mel, the Goddesses, Big God Ollie aka the full death squad will be joined by a very special guest at London's Adelphi Theatre and so what are you waiting for? Grab your tickets now at fane.co.uk/will-wake Want the episodes ad free AND extra content from Mel and the guests, PLUS everything from the Kathy Burke archive? 6 Feet Under gets knee deep in all your cracking correspondence. Head to wheretheresawilltheresawake.com to subscribe. AND If you've got a story for us, send it over to mel@deathpodcast.co.uk A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

C.J. Borger is playing Goldie Wilson and Marvin Berry in the West End production of Back To The Future The Musical at the Adelphi Theatre. Having opened in London in 2021, Back To The Future has a book by Bob Gale and new music and lyrics by Alan Silvestri and Glen Ballard, alongside additional songs from the film including ‘The Power of Love' and ‘Johnny B. Goode'. Back To The Future marks C.J.'s West End debut and for his performance, he was nominated for Best Supporting Actor in a Musical at this year's Black British Theatre Awards.C.J. is from the US and began his career as a child on Broadway, where he played Young Simba in The Lion King, Henry in Finian's Rainbow and he was Young Lola in the original workshop of Kinky Boots. He has done some cruise contracts, performed with Kristin Chenoweth at one of her Broadway concerts and performed in Ghost In Concert at the Adelphi Theatre. Recorded in his dressing room, in this episode C.J. discusses why he's having a blast in Back To The Future, his move to the UK and being a child star on Broadway... plus lots more. Back To The Future is booking at the Adelphi Theatre until 12th April 2026. Visit www.backtothefuturemusical.com for info and tickets. This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

Eternal snoring, a big fat doobie & Barry from Watford's damning eulogy... Believe in yourself!!! Stepping through the Pearly Gates this week is none other than the UK's much loved actor, comedian and voice artist, Alex Lowe! LISTENERS!!! Mel, the Goddesses, Big God Ollie aka the full death squad will be joined by a very special guest at London's Adelphi Theatre and so what are you waiting for? Grab your tickets now at fane.co.uk/will-wake Want the episodes ad free AND extra content from Mel and the guests, PLUS everything from the Kathy Burke archive? 6 Feet Under gets knee deep in all your cracking correspondence. Head to wheretheresawilltheresawake.com to subscribe. AND If you've got a story for us, send it over to mel@deathpodcast.co.uk A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

Cold cans of baked beans, 1000 knitted jumpers and a lil bit of Naked Attraction... Joining Mel from beyond the veil is broadcaster and the guy who has the gift of the gab, Gyles Brandreth. DEATHLINGS ASSEMBLE! Mel, the Goddesses, Big God Ollie aka the full death squad will be joined by a very special guest at London's Adelphi Theatre and so what are you waiting for? Grab your tickets now at fane.co.uk/will-wake It's going to be quite literally to die for. Want the episodes ad free AND extra content from Mel and the guests, PLUS everything from the Kathy Burke archive? 6 Feet Under gets knee deep in all your cracking correspondence. Head to wheretheresawilltheresawake.com to subscribe. AND If you've got a story for us, send it over to mel@deathpodcast.co.uk A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on Skip the Queue, we're stepping into the turret and turning up the tension, as we explore one of the UK's most talked-about immersive experiences.Our guest is Neil Connolly, Creative Director at The Everywhere Group, who have brought The Traitors Live Experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous.So, how do you even begin to transform a TV juggernaut into a thrilling, guest-led experience? Let's find out who's playing the game… and who's about to be banished…Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on LinkedIn. Show references: The Traitors Live website: https://www.thetraitorslive.co.uk/Neil's LinkedIn: https://www.linkedin.com/in/neil-connolly-499054110/Neil Connolly is a creative leader of design and production teams focused on development, production and installation of live theatre, entertainment, multi-media and attractions for the themed entertainment industry worldwide.Neil began his career as a performer, writer, producer & artist in Londons alternative theatre/art scene. It was during this time Neil developed a love and passion for story telling through the platform of interactive playable immersive theatre.Having been at the vanguard of playable & immersive theatre since 2007, Neil had a career defining opportunity in 2019 when he devised, wrote & directed an immersive experience as part of Sainsbury's 150th Birthday Celebrations. Making him the only immersive theatre & game maker in the world to have HRH Elizabeth Regina attend one of their experiences.In a distinguished career spanning 20 years, Neil has brought that passion to every facet of themed entertainment in the creative direction and production of attractions such as; Handels Messiah, Snowman & The Snowdog, Peppa Pig Surprise Party, Traitors Live, The Crystal Maze Live Experience, Tomb Raider Live Experience & Chaos Karts, an AR go-kart real life battle. Other clients and activations include: Harrods, Sainsbury's, Camelot/The National Lottery, Samsung, Blenheim Palace, Land Rover and Warner Brothers.Neil has worked across 4 continents for many years with private individuals; designing, producing and delivering live entertainment on land, sea & air. A world without boundaries requires freethinking.Neil is currently working with Immersive Everywhere on creative development of show and attraction content for projects across U.K, Europe, North America & Asia. Transcriptions:  Paul Marden: This week on Skip the Queue, we're stepping into the turret and turning up the tension as we explore one of the UK's most talked about immersive experiences.Paul Marden: Our guest is Neil Connolly, Creative Director at The Everywhere Group, who've brought The Traitor's live experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous. So how do you even begin to transform a TV juggernaut into a thrilling guest-led experience? Let's find out who's playing the game and who's about to be banished.Paul Marden: So, we're underground. Lots of groups running currently, aren't they? How did you make that happenNeil Connolly: Yeah, so now we're two floors under us. There's a lower basement and some other basement. So the building that we are in, there's a family in the 1890s who owned all of the land around Covent Garden and specifically the Adelphi Theatre.Paul Marden: Right.Neil Connolly: And they wanted their theatre to be the first theatre in the UK to have its lights powered by electricity. So they built their own private power station in this building. Like, literally like, all this, this is a power station. But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this building until the 1980s when the establishment was assumed through the important UK network.Neil Connolly: And then it was sat there empty, doing nothing for 40 years. And so the landlord that is now started redeveloping the building 10 years ago, added two floors onto the top of the building. So now what we're in is an eight-storey structure and we've basically got the bottom four floors. Two of which are ground and mezzanine, which is our hospitality area. And the lower two floors, which are all in the basement, are our experience floors. What we're looking at right now is, if you look off down this way to the right, not you people on audio, but me here.Neil Connolly: Off this side is five of the round table rooms. There's another one behind me and there's two more upstairs. And then I've got some Tretters Towers off to the left and I've got my show control system down there.Neil Connolly: On the floor above me, we've got the lounges. So each lounge is connected to one of the round table rooms. Because when you get murdered or banished, one of the biggest challenges that I faced was what happens to people when they get murdered or banished? Because you get kicked out of the game. It's not a lot of fun, is it? Therefore, for me, you also get kicked out of the round table room. So this is a huge challenge I face. But I built these lounge concepts where you go— it's the lounge of the dead— and you can see and hear the round table room that you've just left. We'll go walk into the room in a while. There's lots of interactivity. But yeah, super fun. Neil Connolly: But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this establishment until the 1980s when the establishment was considered through the important UK network.Paul Marden: Yeah. So we've got 10 million people tuning in to Traitors per episode. So this must be a lot of pressure for you to get it right. Tell us about the experience and what challenges you faced along the way, from, you know, that initial text message through to the final creation that we're stood in now.Neil Connolly: So many challenges, but to quote Scroobius Pip on this, do you know Scroobius Pip? Paul Marden: No. Neil Connolly: Great, he's amazing. UK rapper from Essex.Neil Connolly: Some people see a mousetrap and think death. I see free cheese and a challenge.Neil Connolly: There's never any problems in my logic, in my thinking. There's always just challenges to overcome. So one of the biggest challenges was what happens to people when they get murdered or banished. The truth of the matter is I had to design a whole other show, which happens after this show. It is one big show. But you go to the Lounge of the Dead, there's more interactivity. And navigating that with the former controller, which is O3 Media and IDTV, who created the original format in the Netherlands, and basically designing a game that is in the world and follows the rules of their game with some reasonable adjustments, because TV and live are not the same thing.Neil Connolly: It takes 14 days to film 12 episodes of The Traitors. Paul Marden: Really? Okay. Neil Connolly: So I was like, how do I truncate 14 days of somebody's life down into a two-hour experience and still deliver that same impact, that same power, that same punch?Paul Marden: Yep.Neil Connolly: But I knew from the beginning of this that it wasn't about time. There is a magic triangle when it comes to the traitors, which is time, space, atmosphere. And time was the thing that I always struggled with. I don't have a Scottish cattle show, and I don't have two weeks. No. So I'm like, 'Cool, I've got to do it in two hours.' So our format follows exactly the same format. We do a breakfast scene, then a mission, then a roundtable banishment, then there's a conclave where the traitors meet and they murder somebody. And I do that in a seven-day structure, a seven-day cycle. But it all happens within two hours around this round table.Neil Connolly: I'm the creative director for Immersive Everywhere. We're a vertically integrated structure in the sense that we take on our own venues. So we're now standing in Shorts Gardens in the middle of Covent Garden. So we've leased this building. We've got a lease that is for a number of years and we have built the show into it. But we also identify the IP, go after that ourselves, we capitalise the projects ourselves. We seek strategic partners, promoters, other people to kind of come involved in that journey. But because we're also the team that are licensing the product, we are also the producers and I'm the creative director for that company. So I developed the creative in line with while also getting the deal done. This is incredibly unusual because other producers will be like, 'Hey, I've identified this IP and I've got it.' Now I'm going to approach a creative agency and I'm going to get them to develop the product. And now I've done all of that, I'm going to find someone else to operationally put it on, or I'm going to find a venue to put it on in, and then I'm going to find my ticketing partner.  But we don't do that. We have our own ticketing platform, and we have our own database, so we mark our own shoulders.Neil Connolly: As well as other experiences too. Back, we have our own creative industry, we are the producers, we are the female workers. So we cast it, we hire all the front of house team, we run the food and beverage, we run the bars. The operations team is our operations team because they run the venue as well as the show at the same time. So that's what I mean. We're a vertically integrated structure, which means we do it, which makes us a very unusual proposition within... certainly within the UK market, possibly the world. It makes us incredibly agile as a company and makes us to be able to be adaptive and proactive and reactive to the product, to the show, to the market that we're operating in, because it's all under one roof.Neil Connolly: This show started January 24th, 2023. Right. It's very specific because I was sitting on my sofa drinking a lovely glass of Merlot and I had just watched... UK Traitors, Season One. Yep. Because it came out that Christmas. Immediately I was like, 'Oh my God, this is insane.' And then I got a text message that particular night from our head of licensing, a guy named Tom Rowe, lovely man. And he was like, Neil, I'm at a licensing event with some friends of mine and everyone's talking about this thing called Traitors. I've not watched it. Have you watched it? Sounds like it might be a good thing. And so I sat back and drank my Merlot. And about five minutes later, I text him back and I was like, Tom, get us that license.Neil Connolly: And then I sent him a bunch of other details of how the show in my head would work, both from a commercial standpoint, but also from a creative standpoint, because I'm a commercially minded creative. Right. So I instantly took out my notebook and I started writing down exactly how I thought the show was going to do, the challenges that we would face and being able to translate this into a live thing. But I literally started writing it that night. And then he watched the first episode on the train on the way home. And then he texted me the next morning and he was like, 'I love it.' What do we need to do? And I was like, 'Get us in the room.' Two days later, we were in the room with all three media who own the format globally.Paul Marden: Okay.Neil Connolly: So we sat down and then they came to see one of our other shows and they were like, 'Okay, we get it now.' And then that was like two and a half years of just building the show, getting the deal done and facing the myriad of challenges. But yeah, sometimes it just starts with the text message.Paul Marden: So they get to experience all the key parts of the TV.Neil Connolly: All the key beats. Like right now, I'm holding one of the slates. They're not chalkboard slates. Again, this is... Oh, actually, this is a good challenge. So in the TV show, they've got a piece of slate and they write on it with a chalkboard pen. This seems so innocuous and I can't believe I'm talking about this on a podcast.Neil Connolly: Slategate was like six months of my life. Not in its entirety, but it was a six month long conversation about how we do the slates correctly. Because we do... 48 shows a day, six days a week. And those slates will crack. They will bash. And they're kind of a bit health and safety standards. I was like, can't have them. Also, they write on them with chalk pens, white ink chalk pens. But in the TV show, you only do it once a night. Yeah.Paul Marden: And then you have a producer and a runner.Neil Connolly: They just clean them very, very leisurely and set them back for the next day. And I was like, no, I've got to do a whole bunch of roundtable banishments in two hours. So we talked a lot about material, about style, literal viewership, because if you take a seat at the table. Yeah. If you're sitting at the table here, you'll notice that we've got a raised bit in the middle. If I turn mine around, the other person on the other side can't see it. So I was like, 'Okay, cool.' So we had to do a whole bunch of choreography. But also, the room's quite dark. Yes. At times, atmospheric. Yeah. In that magic triangle time-space atmosphere. So anything that was darker, or even that black slate, you just couldn't read it. And then there was, and then I had to— this is the level of detail that we have to go into when we're designing this kind of stuff. I was like, 'Yeah, but I can't clean off these slates with the white ink because everyone will have to have like a wet cloth chamois. Then I've just got loads of chamois around my venue that I just don't need.' And so then we're like, 'Oh, let's use real slates with real chalk.' And I was like, 'No, because dust will get everywhere.' I'll get chalk just all over my table. It'll just ruin everything. It'll ruin the technology that's inside the table because there's lots of hidden tricks inside of it. Paul Marden: Is there really? Yeah, yeah, yeah.  Neil Connolly: There's loads of hidden tricks inside the table. So after a while, going through many different permutations, I sat down with Christian Elenis, who's my set designer and my art director. And we were, the two of us were nearly in tears because we were like, 'We need,' and this only happened like.Neil Connolly: I would say two, three weeks before we opened. We still hadn't solved how to do the slate, which is a big thing in the show. Anybody who's seen the show and loves the show knows that they want to come in, they want to write somebody's name on the slate, and they want to spell the name incorrectly.Neil Connolly: Everyone does it on purpose. But I wanted to give people that opportunity. So then eventually we sat down and we were like, Christian, Neil. And the two of us in conversation went, why don't we just get a clear piece of Perspex, back it with a light coloured vinyl. And then Christian was like, 'Ooh,' and I'll make it nice and soft and put some felt on the back of it, which is what I'm holding. And then why don't we get a black pen? And we were like, 'Yeah,' like a whiteboard marker. And then we can just write on it. And then A, I can see it from the other side of the table. Thing one achieved. Two. Every marker pen's got an eraser on the top of it. I don't know why everyone thinks this is important, but it is. That you can just rub out like that, and I'm like, 'There's no dirt, there's no mess, and I can reuse this multiple times, like dozens of times in the same show.' And I know that sounds really weird, but that's the level of design I'm going to need.Paul Marden: I was just about to say, and that is just for the chalkboard. Yeah. Now you need to multiply that. How many decisions?Neil Connolly: How many decisions in each game. But also remember that there are eight round tables in this building. Each round table seats 14 people. And we do six sessions a day. So first ones at 10 a. m. Then we do 12, 2, 4, 6, and 8 p. m. So we do 48 shows a day, six days a week.Paul Marden: I love the concept that these are shows. This is not this is not visitor attraction. This is theater repeated multiple times a day for multi audience is concurrently.Neil Connolly: And I've just spent five minutes describing a slate to you. Yeah. But like, I haven't even got— it's like the sheer amount of technology that is in the show. And again, theatrical, like, look above our heads. Yeah. You've got this ring light above every seat. It's got a pin light. There's also microphones which are picking up all the audio in the room, which again is translating to the lounge of the dead. Every single one of the round table rooms has four CCTV cameras. Can you see that one in the corner? Each one of them is 4K resolution. It's quite high spec, which is aimed at the opposite side of the table to give you the resolution in the TV. In the other room. Then you've got these video contents. This is constantly displaying secret information through the course of the show to the traitors when they're in Conclave because everyone's in blindfolds and they took them off. They get secret instructions from that. There's also a live actor in the room. A live actor who is Claudia? They're not Claudia. They're not pastiches of Claudia. They are characters that we have created and they are the host of The Traitor's Game. Right. They only exist inside this building. We never have them portrayed outside of this building in any way whatsoever.Neil Connolly: They are characters, but they live, they breathe— the game of Traitors, the world of Traitors, and the building that we have designed and constructed here. And they facilitate the game for the people. And they facilitate the game for the people. One actor to 14 people. There are no plants, even though everyone tries to tell me. Members of the public will be convinced that they are the only person that's in that show and that everyone else is a plant. And I'm like, no, because that would be insane.Neil Connolly: The only actor in the room is the host.Paul Marden: 14 people that can sit around this table. How many of them are in the same group? Are you with your friends or is it put together where there are other people that you won't know in the room? If you book together, you play together.Neil Connolly: Yes. Okay, so if you don't book 14 people... Ah, we also capped the number of tickets that you can purchase to eight. Right. So you can only purchase a maximum of eight tickets unless you do want a full table of 14, at which point you have to then purchase a VIP package because you are booking out a whole table for yourselves. The game doesn't work if there's less than 10 people at the table. So there has to be 10, 11, 12, 13 or 14 people sat at a round table for the show to actually happen, for it to work. By capping the number of tickets that you book for eight, then that guarantees that strangers will be playing together. And that is the basis of strangers. Yeah, yeah. Like, you need to be sat around a table with people you know, you don't know, that you trust and you don't trust. Yeah. Fact of the matter. And do you see people turning on the others in their own group? Every single time. People think genuinely, and I love this from the public, you would think that if you're turning up as a group of eight and a group of four and a group of two, that the bigger group would just pick everybody off to make sure that someone in their group gets through to the end game.Neil Connolly: I'm sure they think that and they probably plot and plan that before they arrive on site. As soon as this game starts, gloves are off and everyone just starts going for each other. We've been open nearly two months now. I have seen, like, children murdered of their mothers.Neil Connolly: Husbands murder their wives, wives murder their husbands. I've seen, like, three generations—like, we get, because it's so intergenerational, like our lowest, the lowest age that you can play this is 12. Right. And then it's upwards. I've seen three generations of family come in and I've seen grandkids murder their own nan.Neil Connolly: Absolutely convinced that they're a traitor. Yeah, yeah, yeah. 100%. Or they banish them. Like, it's just mental. I've also seen nans, who are traitors, murder their grandkids.Neil Connolly: Like, and this is in a room full of strangers. They're just like, 'No, I'm not going to go for Barbara, who I met two hours ago in the bar. I'm going to go for my own grandson. It's mental.'Neil Connolly: The very, very first thing that I always think about whenever I'm creating an experience or whenever I'm designing a show is I put myself in the position of 'I'm a member of the public.' I have bought a ticketNeil Connolly: What's the coolest thing that I am going to do for my money? What is my perceived value of my ticket over actually what is the value of that ticket? I wanted to give people the experience of knowing what it was like to be sitting in one of these chairs at this table and feeling their heart. The pounding in their chest and I mean, the pounding in their chest, that rush of adrenaline from doing nothing— from sitting in a chair and all you were doing was sitting in a room talking to people and your heart is going.Neil Connolly: Because you're either being accused of being a liar. And trying to defend against it. And trying to defend against it. Or you actually are lying and you're trying to whittle your way out of it. And that feeling is the most alive that you will ever feel. Not ever. Like, I'm sure they're... No, no, no. But, like, give people that opportunity and that experience, as well as, like, access to the world of traitors and the law and everything else. But also, it's like any other theme park ride. People go on roller coasters because the imminent fear of death is always there. Yeah. And you feel alive. You're like, you've got such a buzz of adrenaline. Whereas, arguably, we do exactly the same thing as roller coasters, but in a much more longer-drawn format and multiple times. Yeah. And people do feel alive. When people walk out of the show, you see them go upstairs to the bar, and they are... Yeah.Paul Marden: You've said to me already that you don't use the word 'immersive,' but you know, I'm, I'm, I'm sat. The company is called 'immersive' everywhere. I'm sat behind the scenes. Okay. I'm sat in the room and the room is hugely convincing. It's like the highest fidelity escape room type experience that I've ever sat in. It feels like I'm on set, yeah, yeah. Um, I can totally believe that, in those two hours, you can slip. I sat on a game. It was only a two-minute game at iApple, but I was being filmed by one of the team. But within 30 seconds, I'd forgotten that they were there because I was completely immersed in the game. I can believe that, sitting in here right now, you could forget where you were and what you were doing, that you were completely submerged in the reality of the land that you're in.Neil Connolly: Yeah, 100%. Like, the world does not exist beyond these worlds. And for some people, like, I have my own definition. Everyone's got a different definition of what immersive is. I've got my own definition. But... I can tell you right now, as soon as people enter this building, they're in the bar, they're kind of slowly immersed in that world because the bar is a themed bar. It's done to the same, like we designed and built that bar as well. But as soon as they start descending that spiral staircase and coming into the gameplay floors, into the show floors, they just forget the rest of the world exists. And especially when they sit down at this table, it doesn't matter. I'm sat next to you here, but you could be sat at this table with your loved one, strangers, whatever. The gloves come off and just nothing exists apart from the game that you're about to go through.Paul Marden: You've been open now for a couple of months. More success than you were anticipating, I think. So pre-sales went through the roof? Yes. So you're very happy with the results?Neil Connolly: Yeah, yeah, we were. Yeah, well, we still are.Neil Connolly: We were very confident before we'd even started building the show, like the literal structural build, because we did very well. But then that set expectations quite high because I had a lot of people that had bought tickets and I was like, 'OK, I need to put on a good show for these people. And I need to make sure that they get satisfaction relative to the tickets that they bought.' But I don't feel pressure. I do feel anxiety quite a lot. Creatively? Yeah. I mean, I meditate every day.Paul Marden: But you've created this amazing world and you're inviting people into it. And as a creative, you're opening yourself up, aren't you? People are walking into the world that you've created.Neil Connolly: Yeah, this was said to me. This is not something that I came up with myself, and I do say this really humbly, but it was something that was said to me. It was on opening day, and a bunch of my friends came to playtest the show. And they were like, 'Oh, this is your brain in a building.'Neil Connolly: And I was like, 'Yeah, I hadn't thought about that.' But yeah, it is my brain in a building. But also that's terrifying, I think, for everybody else, because I know what happens inside my brain and it's really quite chaotic.Neil Connolly: But, you know, this I am. I'm so proud of this show. Like you could not believe how proud I am of this show. But also a huge part of my job is to find people that are smarter than me at the relative thing that they do, such as the rest of my creative team. They're all so much smarter than me. My job is vision and to be able to communicate that vision clearly and effectively so that they go, 'I understand.' The amount of times that people on the creative team turn around to me and go, 'Neil, that's a completely mental idea.' If people are saying to me, 'No one's ever done that before' or 'that's not the way things are done.'Neil Connolly: Or we can do that, but we're going to have to probably invent a whole new thing. If people are saying those things to me, I know I'm doing my job correctly. And I'm not doing that to challenge myself, but everything that I approach in terms of how I build shows is not about format. It's not about blueprints. It's not like, 'Hey, I've done this before, so I'm just going to do this again because I know that's a really neat trick.' I go back to, 'I made the show because I wanted people's heart to pound in their chest while they're sitting in a chair and make them feel alive.'Paul Marden: Is that the vision that you had in your head? So you're articulating that really, really clearly. Is that the vision that you sold to everybody on, not maybe day one, but within a couple of days of talking about this? No, it was day one.Neil Connolly: It was day one. Everyone went, that's a completely mental idea. But, you know, it's my job to try and communicate that as effectively and clearly as I can. But again, I am just one man. My job is vision. And, you know, there's lighting design, sound design, art direction, there's game logic. We haven't even gotten to the technology of how this show works yet, or how this room works.Neil Connolly: Actually, I'll wander down the corner. Yeah, let's do that. But, like, there's other, like, lots of hidden tricks. Like, this is one of the games, one of the missions. In the world and the lore of the show, the round table is sacrosanct.Paul Marden: Yes.Neil Connolly: Traitors is the game. The game is in other people. I can do so many missions and there's loads of missions and they're really fun in this show. But the game is in other people. It's in the people sat on the other side of the room. But also I wanted to do a thing where people could interact directly with the set. And so I designed one of the missions to be in the round table itself.Neil Connolly: So there's a course of these moon dials, which you basically have to align through the course of it. And there are sensors built into the table so that they know when they're in the correct position. How you find out the correct position is by solving a very, very simple puzzle and then communicating effectively to a bunch of strangers that you just met.Neil Connolly: And the sensors basically read it all. And when that all gets into position, the lights react, the sound reacts, the video content reacts, the whole room reacts to you. So I wanted to give people something tangible that they can touch and they make the room react to them. Yes, it's. I mean, I've designed, I've got background in escape rooms as well, right? Um, so I've done a lot of that kind of stuff as well. So I wanted people to feel in touch, same, but like, there's more tangible props over here. Um, yeah, that is a model box of the room that we are stood in, yeah. Also, there's an exact replica of it on the other side of it. There are very subtle differences between it, and that informs one of the missions. So that is two model boxes in this roundtable room. There's one of these in every single roundtable room. So there's 16 model boxes of the show that you're stood in on the set. And again, theatre. It's a show. But it's one of the missions, because I wanted people to kind of go, 'Oh, there's a live actor in front of me.' I'm having fun. Oh, look at all these lights and all the sound. Oh, there's a model box over here. That's in theatre land and blah, blah, blah. But that is also a really expensive joke. It's a really expensive joke. And there's other, like, lots of hidden tricks.Neil Connolly: Let's go look at backstage. Yeah, yeah, yeah, absolutely.Neil Connolly: I say backstage, like how we refer to it or how I always go. I use 'I' and 'we' very interchangeably. Like right now you're on the set. Like you're on the stage. Yes. We're just wandering around a long corridor. There are round table rooms off to either side. But like, you know, there's a green room upstairs where the actors get changed, where the front of house team are, where the bar team all are. But as soon as they go out onto the show floor, they're on stage—yes, completely. We'll very quickly have a look at the gallery—yes, show control. Hi, Robbo. Do you mind if I stand in your room for the purposes of the audio? I'm talking to the technical manager, Thomas Robson. We're recording a podcast.Paul Marden: Robbo, oh yeah, okay. My mind is absolutely blown. So you've got every single room up on screen.Neil Connolly: Yeah, so that's great. There's 164 cameras—something like that. But every roundtable room has four cameras in it. Each camera is 4K resolution. So we've got cameras on all of them. We've got audio into those rooms. That's two-way, so that if show control needs to talk directly to them, they just press a button here and they can talk directly to the room itself. Mainly just like, stop misbehaving, we're watching you.Neil Connolly: We've then got cameras into all of the lounges, all of the show spaces, all the front of house, all of the bar areas, the mezzanine and back of house. And then you've got QLab running across all of the different shows. We've got backups on all of these screens. So if one... of the computers goes down, we can very quickly swap it in for a backup that's already running. We've got show control, which is, there's a company called Clockwork Dog, who, they're an amazing company. What COGS, their show control system, is doing is pulling in all of the QLab from sound, all of the QLab from lighting, and also we built our own app. to be able to run the show. So there's a whole logic and decision tree based on the decisions that the public do through the course of the game. So yes, there is a beginning, a middle, and an end in terms of our narrative beats and the narrative story of the show that we're telling people. But also that narrative can go in. Hundreds of different directions depending on the actions and the gameplay that the people do during the course of the show. So, you haven't just learned one show— you have to learn like You have to learn a world, and you have to learn a whole game.Neil Connolly: Like, there's the server, stacks, which we had to build. You had to network and cable the entire building. So we have built an entire new attraction, which didn't exist before. And also we're pulling in information from the front of house system which is also going into the show itself because again, you put your name into the iPad when you arrive on site and then you tick a box very crucially to say, 'Do you want to be selected as a trader? Yes or No.' Because in the game, it's a fundamental rule. If you say no, you cannot be selected as a traitor by the host during traitor selection. That doesn't mean you can't be recruited.Paul Marden: By the traitors later on in the game. So you could come and do this multiple times and not experience the same story because there were so many different pathways that you could go down.Neil Connolly: But also, the game is in other people. Yes. The show is sat on the opposite side of the table to you because, like, Bob and Sandra don't know each other. They'll never see each other ever again. But Bob comes again and he's now playing against Laura. Who's Laura? She's an unknown quantity. That's a whole new game. That's a whole new show. There's a whole new dynamic. That's a whole new storyline that you have to develop. And so the actors are doing an incredible job of managing all of that.Paul Marden: Thanks, Robbo. Thank you. So you've worked with some really, really impressive leading IP, Traders, Peppa Pig, Doctor Who, Great Gatsby. What challenges do you face taking things from screen to the live experience?Paul Marden: Challenges do I face? We're wandering here.Neil Connolly: So we are in... Oh, we're in the tower.Neil Connolly: Excellent. Yep, so we're now in Traitor's Tower. Good time for you to ask me the question, what challenges do I face? Things like this. We're now stood in Traitor's Tower. Paul, let me ask you the question. Without the show lights being on, so we're just stood on a set under workers, what's your opinion of the room that we're stood in?Paul Marden: Oh, it's hugely impressive. It feels like, apart from the fact you've punched the fourth wall out of the telly, it does feel like you're on set.Neil Connolly: It's a really faithful reproduction of the set. So that's kind of one of the challenges is managing the public's expectations of what they see, do and feel on site. So that I don't change the show so that people come and play the game that they're expecting to play. But making reasonable adjustments within that, because TV and live are two very, very different things. So first and foremost was making sure that we get the format right. So the game that people play, which informs the narrative of the show and the narrative structure of the show. Breakfast, mission, round table, conclave. Breakfast, mission, round table, conclave. I've designed a whole bunch of new missions that are in this, taken some inspiration from missions that people know and love from the TV shows, whether that's the UK territory or other territories around the world. And also just other stuff is just clear out of my head. So there's original content in there. paying homage and respect to the world that they've built and allowing ourselves to also play and develop and build out that world at the same time. Other challenges.Neil Connolly: This is not a cheap project. No, no. I mean, the production quality of this is beautiful. Yeah, yeah, thank you. It is stunning. When people walk in here, they're like, 'Oh my God, this is... High end.' I am in a luxury event at a very affordable price.Paul Marden: Thank you. And then we're going back upstairs again. Yes. And in the stairwell, we've got the crossed out photos of all of those that have fallen before us.Neil Connolly: No, not quite. All of the people that are in this corridor, there's about 100 photos. These are all the people who built the show.Neil Connolly: So this is David Gregory. He's the sound designer. This is Kitty, who is Immersive Everywhere's office manager. She also works in ticketing. That is Tallulah and Alba, who work in the art department. Elliot, who's our lighting designer. So all of these people are the people who brought the show to life.Paul Marden: Amazing.Neil Connolly: And we wanted to pay homage to them because some of them gave years of their lives to building the show from literally the inception that I had in 2023. Through to now and others are the people who literally spent months of their life underground in these basements building hand-building this set and so we wanted to pay homage to them so we got all of their photos we did the iconic red cross through it yeah and we stuck them all up in the corridor just because we thought it'd be a nice thing to do.Paul Marden: You're in the business of trading and experiences and that ranges from art exhibitions to touring shows. There's always going to be a challenge of balancing innovation and profitability. What is the formula? What is the magic formula?Neil Connolly: I believe, first and foremost, going back to what I was telling you earlier about us being a collaborative organisation. We are not a creative crack that has been used for the show. We are also the producers of the show. And to make my point again, I'm a commercially minded creative. So I actually sit down with the producers and go, 'Okay, cool.' There are 112 seats in the show.Paul Marden: Yep.Neil Connolly: Therefore, how many shows do we need to do per day? How many shows do we need to do per week? How many shows do we need to do per year? Therefore, let's build out a P &L. And we build a whole business plan based around that.Paul Marden: By having everybody— that you need in the team— makes it much easier to talk about that sort of stuff. It makes it much easier for you to design things with the end result in mind. You don't have a creative in a creative agency going off— feeding their creative wants without really thinking about the practicalities of delivering on it.Neil Connolly: Exactly. So you've got to think like, literally, from the very, very beginning: you've got to think about guest flow. You've got to think about throughput. You've got to think about your capacities. Then you've got to basically build out a budget that you think— how much, hey, how much really is this going to cost? Yeah. Then you build out an entire business plan and then you go and start raising the money to try and put that on. And then you find a venue. I mean, like the other magic triangle, like the traitor's magic triangle is, you know, time, space, atmosphere. That's how you do a show. Like with my producer's hat on, the other magic triangle is show, money, venue.Neil Connolly: The truth of the matter, like I make no bones about it, I can design shows till the cows come home, but I'm always going to need money to put them on and a venue to put them in. Also, I want to stress this really important. I use the words 'I' and 'we' very interchangeably.Paul Marden: It's a team effort.Neil Connolly: You can see that in that corridor. I am not a one-man band. I am the creative director of a company. I am a cog that is in that machine, and everybody is doing... We are, as a team... I cannot stress this enough. Some of the best in the business are doing what we do. And everyone is so wildly talented. And that's just us on the producing side. That's immersive everywhere, limited. Then I've got a whole other creative team. Then we've got operations. Then we've got... It's just mad. It's just mad, isn't it? This is a job. Who would have thought, when you were at school, this was an opportunity? Not my principal or my maths teacher.Neil Connolly: So, sorry, just to balance the kind of economies of scale. That was the question, wasn't it?Paul Marden: Well, we were talking about what is the formula for making that an investment, but you know, the authority here is the effort you've put in to do this feels high, but at the same time, you have to find this thing. There is a lot of investment that goes into the front.Neil Connolly: But that comes back to creatives. Caring and I'm not saying the creatives don't, but I care. I care about building businesses. Yeah, not necessarily like building my own CV, like there's so many projects that across our desks. I'll be like, 'Yeah, that'd be really fun to work on.' But do I think that I can make that a touring product? Can it be a long-running location-based entertainment sit-down product? Can it be an art shop? Like you've kind of got a balance with what do you think is just creatively cool versus what can we do as a company that is a commercially viable and financially stable product? And so all that comes through in terms of the creative, but also in terms of the activities of how we run the building, how this model realizes. Because if you think about it, let's make Phantom of the Opera run in the West End. Yes. The show is very obvious, with many casts on a room, away, fruit team away, terrace, it's a big activity. If they haven't sold half that away, they have to use the whole show and play all those people.Neil Connolly: But if they haven't sold half that away from one of my shows... I only have to activate four of my rooms, not eight of them. Therefore, I don't have to call in four actors. I don't have to call in a bunch of the other front of house team and I can scale in the operations on the back. It's an entirely scalable process. Flexible, yeah, yeah, yeah. Oh, 100%. But also, like, we've got eight rooms here. If we decide to take this to another territory, and that territory demands a much higher throughput, then instead of eight rooms, I can do 20 rooms, 30 rooms. As long as we know that the market is there to be able to kind of get people through it.Neil Connolly: I love this show and I'm so proud of it. The main reason why I'm proud of it is when the show finishes, let's go into one of the lounges. Have you been into one of the lounges?Paul Marden: I've had a nose around a lounge.Neil Connolly: There are different shapes and sizes. We won't go into that one. We'll go into this one down here. That one, that one. It's always such a buzz when you're stood in the bar and the shows kick out, and you see tables and tables of 14 people going up into the bar.Neil Connolly: Area and before they've even gotten a drink, they will run straight over to their friends, families, strangers, whoever they were playing with in that table of 14, and instantly be like, 'Right, I need to know everything that was going on inside your head, your heart, and your soul over the last two hours of my life because this was my experience.'Neil Connolly: And they'll just go, and they'll be like, 'And this is what I was thinking.' And then I thought it was you because you did this and you touched your nose in a weird way. And then I thought you were sending secret signals. And then everyone's like, 'No, that's not what I was doing.' I was just trying to be a normal person. And they were like, 'Well, why did you say that thing?' It sounded super weird. And they're like, 'That's just what I do.' And it's just totally mental. And then they all get a drink from the bar. And we call it the bar tab chat.Neil Connolly: It's another revenue stream.Neil Connolly: I do talk about this like it's a show. And it is a show. You've walked around, do you think it's a show? Completely. I talk to established houses all the time. Like, you know, the big theatres of the land. Organisations that are national portfolio organisations who receive a lot of Arts Council funding. The thing that they want to talk to us about all the time is new audiences. They're like, 'How do I get new audiences through my door?' What can I do? And I'm like, 'Well, firstly, make a show that people want to go and see.'Neil Connolly: Again, they're like, 'But I've got this amazing writer and he's a really big name and everyone's going to come because it's that name.' And I'm like, 'Yeah, that's wicked. That's cool.' And they can all go pay reverence to that person. That's really wonderful. Whereas when you look at the attractions landscape or the immersive theatre landscape or like anything like... Squid Game, or The Elvis, Evolution, or War of the Worlds, which has also laid reality, or any of that kind of stuff, across the landscape, it is nothing but new audiences. Yeah, yeah, yeah. It is nothing but actual ticket-buying audiences.Neil Connolly: And they come from all different walks of life. And what I love is that they do come in to this experience and we hit them with this like secret theatre.Neil Connolly: And they're like, 'Oh my God.' And often it's a gateway to them being like, 'Oh, I didn't realise that.' Maybe I'll go see a Western show or maybe I will go to the National Theatre and see something. Because that's the level of archery. Because those organisations, I love them and I've worked in a few of them, but those buildings can be quite austere, even though they're open and porous, but it's still very difficult to walk through that threshold and feel a part of it.Paul Marden: Whereas coming in here, coming into an event like this, can feel like a thing that they do.Neil Connolly: Because it's the same demographic as theme park junkies. People who love going to theme parks love going to stuff like this because it's an experience, it's an otherness, it's an other nature kind of thing. Because modern audiences want to play and do, not sit and watch. But we all exist in the kind of same ecosystem. I'm not taking on the National Theatre.Paul Marden: Gosh, no. I always talk about that. I think the reason why so many attractions work together in the collaborative way that they do is they recognise that they're not competing with each other. They're competing with sitting on your backside and watching Netflix.Paul Marden: Yeah, yeah.Paul Marden: Our job for all of us is to drag people away from their screens and drag people off of their sofas to do something. And then that's the biggest challenge that we all face.Neil Connolly: I think then that kind of answers the question that you asked me earlier, which I didn't answer. And I'm very sorry.Neil Connolly: is about identifying different pieces of IP. Like, yes, we largely exist in the world of licensing IP. And how do we identify that kind of IP to be able to translate? Not just how do we do it, but like, actually, how do we identify the right thing that's going to... How do you spot the winner? Yeah, exactly. Yeah. And that is one of the biggest challenges to your point of we're talking directly to people who consume arts, culture and media and technology in a slightly more passive way, whether that's just at home and watching Netflix and then bringing that to life. In a very, very different way. If you have a very clear marketing campaign that tells people what it is that they're buying and what they're expected to see or do on their particular night out, because that's what modern people really care about, what they do with their money. Yeah. And they want to have a good night out. And I'm in the business of giving people a good night out. We also happen to be murdering a lot of people in the course of the show.Neil Connolly: Still a good night out. Still a good night out. But I'm in a place where the dead sit. Yeah, exactly. Lounge of the dead. And like, you know, this is a really cool space. Oh, it's just beautiful. You know, we've got the telephone really works. There's lots of information that comes through that. The radio works, that does different things. The TV screen on the wall, that has the actual live feed into the round table room that you've just left. And there's other little puzzles and hints and tricks in this room, which means that after you've been murdered or banished and you come to the Lounge of the Dead, you're still engaged with the game to a degree. You just don't directly influence the outcome of the game. But you're still involved in it. You're still involved in it. It's super fun. Oh, and you can have a drink in here.Paul Marden: I don't let people drink in the round table. Even more important. What's this?Neil Connolly: The dolls, the creepy dolls. What this is, this is the void. Creatively speaking, this is where all the gold goes when people win or lose it. And the creepy dolls are from the TV show. Ydyn nhw'r un gwirioneddol o'r sioe? Felly, gafodd studio Lambert, sy'n gwneud y sioe tebyg, llawer o brops o'r sioe tebyg i ni eu rhoi ar y ddispleiddio yma. Felly, mae gennych chi'r Dolls Creepy o'r lles 3 yno. Rydyn ni'n mynd i fyny. Yn ôl yma, mae'r peintiwch Deathmatch.Paul Marden: Which is from season three.Neil Connolly: And they get the quill and they write the names and got the quill upstairs. We've also got over here, the cards that they used to play the death match with. Excellent.Paul Marden: So you began your career in theatre. How did that evolve into the world of immersive live experiences?Neil Connolly: Life story. I am the son of a postman and a cook. And if you haven't noticed already, I'm from Ireland. There was no theatre in our lives, my life, when I was growing up. And I stumbled into a youth theatre. It's called Kildare Youth Theatre. And the reason why I joined that is because there was a girl that I really fancied.Neil Connolly: She had just joined this youth theatre and I was like, 'Oh, I'm gonna join that as well' and that kind of opened the world of theatre for me. At the same time, I then got spotted by this guy, his name's Vijay Baton, his real name's Om, but he converted to Hare Krishnanism in the 90s. And he set up a street theatre company in Ireland. He just taught me street theatre. So he taught me stilt walk, he taught me juggling, he taught me how to build puppets. And so I spent years building puppets with him and going around Ireland doing lots of different street theatre while I was a teenager. And doing street theatre and doing my youth theatre and then kind of all of that kind of came to a head when I had to decide what I was going to do with my life. I applied to go to drama school. And I applied to two drama schools. One was Radha. Didn't get in. Didn't even get an audition. And the other one was Rose Bruford. And they took me. And the reason why they took me— I probably wasn't even that good. But on the day that I was auditioning to get into Rose Bruford was the same day as my maths exam for my final exams at school. You call them your A-levels, we call them the leaving certificate.Neil Connolly: And while all of my friends were back in Ireland doing their maths exam, I was in an audition room pretending to be a tree or the colour black.Neil Connolly: Who knows? And they kind of went, 'Well, if I fail my maths exam, I don't get into university in Ireland.' Like, it's just a blanket thing. And so I was like, 'I literally sat across the panel' and I was like, 'eggs, basket.' And they were like, 'cool.' So they let me in based off of that. So I got a classical training. Then what happened is I came out of university. I was living with two of my friends, Natalie and Joe. And we had our own little production company called The Lab Collective. And we just started making shows. In weird ways, we joined a company called Theatre Delicatessen. Let's get away from this. Yeah, yeah, yeah.Neil Connolly: So Theatre Deli was a company set up to take over disused spaces in London and convert them into art spaces.Neil Connolly: Basically legalised squatting. It's the same as like a guardianship. But we weren't living in the buildings. We were just putting on shows and we put on art shows, we put on theatre shows. We did Shakespeare for a while. We wrote our own work and we just did lots of really, really cool stuff. And I worked in music festivals, classically trained actor. So I was trying to do shows. I did a lot of devising. I also joined an improvisation group. And kind of through all that mix, like those years at Delhi, which was making these weird shows in these weird buildings, were very, very formative years for us. The Arts Council wouldn't support the kind of work that we were making. We were like, 'Cool, how do we get space?Neil Connolly: How do we get or make money to support ourselves? And what are the shows? There's the magic triangle all over again. Space, show, money. And that's your apprenticeship, I guess, that brings you to here. Yeah, yeah, yeah. And like, again, I make no bones about it. 10 years ago, I was selling programs on the door of the Royal Festival Hall while doing all of that stuff. So in one of the Theatre Daily buildings, we did a show called Heist, which is you break into a building and steal stuff. That's what the public do.Neil Connolly: And a bunch of us did that. I mean, it's so much fun— kind of doing it. And off the back of that, somebody else basically tried to chase down the crystal maze. And then they went away, and then they called me up and they were like, 'Hey, I've got the rights. Do you want to make the crystal maze?' And I was like, 'Yeah, sounds like fun.' So I got involved with that, did that for a while. And then, from there, this is the end of a very long story. I'm so apologised. Yeah, from there, all of those different things that I've done through the course of my life in terms of operations, designing experiences, being a creative, understanding business.Neil Connolly: Building a P&L, building a budget, talking to investors, trying to convince them to give you money. All of that stuff kind of basically came together. And over the last few years, like the wildest ride is that pre-2020.Neil Connolly: We were just a bunch of people doing a bunch of weird things, making weird shows and weird attractions in kind of different ways. And then that year happened. And I don't know what happened, but literally every single major studio, film, TV production, game designer, licensor in the world, suddenly just went— brand extensions, world extensions, and they all just started calling us. And they were like, 'Hi, I've got this thing.' Can you develop it into a thing? Because I need to extend my brand or I want to build a world and extend that for the public. And we were like, 'Yeah, okay, cool.' And we were just lucky, serendipitously, to be in the right place at the right time. To be those people that people can approach. And we're always, we're very approachable.Neil Connolly: As you can tell, I talk a lot. And, you know, so the last five years, it's just been a mad ride.Paul Marden: So look, Neil, it's been amazing. I have had the most fun. Last question for you. What's next? Are you putting your feet up now because you finished this? Or on to the next? Neil Connolly: Very much on to the next thing. So we're already in production with our new show, which is called Peppa Pig Surprise Party. And that is opening at the Metro Centre in Gateshead next year. Oh, how exciting is that? It's very exciting.Paul Marden: So quite a different demographic.Neil Connolly: The demographic for Peppa Pig is two to five year olds. It's been a really fun show to design and create. To go back to a question that you asked me very early on, there is no blueprint, there is no format. I have embraced the chaos tattooed on my arm. And always when I approach things, any new show or any new creative, I am thinking of it from a ticket buying perspective: 'I have paid my money.' What is the coolest thing that I can possibly do with that money? And so therefore, I'm now looking at families and, like, what's the coolest thing that they can do for that ticket price in the world of Peppa Pig?Paul Marden: Let's come back in the new year, once you've opened Peppa Pig, let's go to Gateshead and see that. That sounds pretty awesome to me. I reckon there's a whole new episode of Designing Worlds for two to five-year-olds that we could fill an hour on.Neil Connolly: Oh yeah, 100%. It's a totally different beast. And super fun to design.Paul Marden: Oh mate. Neil, it has been so wonderful having a wander around the inside of your crazy mind.Paul Marden: If you've enjoyed today's episode, please like it and leave a comment in your podcast app. It really does make it so much easier for other people to find us. This episode was written by Emily Burrows from Plaster, edited by Steve Folland, and produced by Sami Entwistle from Plaster and Wenalyn Dionaldo. Thanks very much. See you next week.  The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

Marisha Wallace brings both powerhouse vocals and fearless honesty to this conversation, diving deep into what it really means to lead Cabaret during one of the most politically charged times in recent memory. She shares how audience reactions shifted depending on the day's headlines, and how she embraced the role not just as entertainment, but as activism—using art to help people process the world around them. From growing up in North Carolina to moving to London on a week's notice, Marisha's journey is anything but ordinary. She reflects on the leaps of faith that shaped her career, the moments when following her gut changed everything, and the surreal honor of performing for the King of England. Her story is a reminder that perseverance, self-belief, and courage to break molds can create opportunities where none seem to exist. Marisha Wallace is an Olivier Award–nominated actress and singer. She starred as Sally Bowles in Cabaret on Broadway, Miss Adelaide in Guys and Dolls at the Bridge Theatre, and Ado Annie in Oklahoma! at the Young Vic. West End credits include Effie White in Dreamgirls, Becky in Waitress, and Motormouth Maybelle in Hairspray. She recently released her live album Live in London, recorded at the Adelphi Theatre. This episode is powered by WelcomeToTimesSquare.com, the billboard where you can be a star for a day. Connect with Marisha: Instagram: @marishawallace TikTok: @marishawallace Listen to Live In London: Spotify link Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.com/TheTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter & Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theatre_podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook.com/OfficialTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheTheatrePodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Alan's personal Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alanseales⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us as we welcome the incomparable Marisha Wallace, Broadway and West End star, powerhouse vocalist, and trailblazer in theatre. From her debut in Aladdin to starring roles in Dreamgirls, Waitress, Hairspray, Oklahoma!, and Guys and Dolls, Marisha has built a career that defies limits.We dive into her journey from North Carolina to London's West End and Broadway, her return to Broadway in Cabaret, and her groundbreaking performances that have earned Olivier Award nominations. Discover the story behind her new live album, Live in London, recorded at the legendary Adelphi Theatre, and hear about her collaborations with top songwriters, performances for royalty, and on-screen appearances in Netflix's Jingle Jangle and Disney's Aladdin.Marisha shares her insights on resilience, faith, and the courage it takes to pursue your dreams on the world's biggest stages. This episode is packed with inspiration for theatre lovers, Broadway fans, and anyone chasing their creative dreams. Listen now to experience Marisha Wallace's story, music, and artistry.Links & Resources:Listen to Live in London: [Available on all digital platforms]Join the Queens Clubhouse on Patreon: queen.blackwomenamplified.comExplore merch, blog, and newsletter: www.blackwomenamplified.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/black-women-amplified--6590667/support.

That's right gang, Where There's A Will There's A Wake is going (A) LIVE at London's Adelphi Theatre on Tuesday 16th December! Mel, the Goddesses, Big God Ollie aka the full death squad will be joined by a very special guest at one of London's tip top theatres and so what are you waiting for? Grab your tickets now at fane.co.uk/will-wake It's going to be quite literally to die for. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Marisha recently starred as Sally Bowles in Cabaret on Broadway and in London. Also on the west end she starred as Miss Adelaide in the smash-hit revival of Guys and Dolls, earning an Olivier Award nomination for Best Actress in a Musical. She also received critical acclaim and an Oliver nomination for her performance as Ado Annie in the groundbreaking production of Oklahoma! At the Young Vic. Her extensive stage credits include performing for His Majesty the King, starring as Motormouth Maybelle in Hairspray at the London Coliseum, originating the role of Becky in the West End production of Waitress at the Adelphi Theatre, and making her West End debut as Effie White in Dreamgirls at the Savoy Theatre. Her albums include Soul Holiday, Tomorrow and Live in London. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Britain's Got Talent turned West End star Sydnie Christmas joins Jonny Seifert on Secure The Insecure Podcast this week.Sydnie opens up about the ups and downs of auditions, her career from the D & B Academy taking part in Eastenders workshops to working on cruises and winning Britain's Got Talent. Plus, Sydnie opens up on working with Jeff Brazier and Aston Merrygold recently on the 101 Dalmations musical Tour.You can see Sydnie Christmas doing her own show at the Adelphi Theatre on the 9th September 2025 by visiting https://lwtheatres.co.uk/whats-on/sydnie-christmas-live-in-london/Secure The Insecure is the celebrity mental health podcast that airs on Mondays available to watch on Youtube or listen to on Apple Podcasts and Spotify. Make sure you subscribe/rate/review where you are watching or listening to Secure The Insecure.Follow Johnny Seifert on Social Media:Instagram: www.instagram.com/johnnyseifertInstagram: www.instagram.com/securetheinsecurepodcastTikTok www.tiktok.com/johnnyseifert92 Hosted on Acast. See acast.com/privacy for more information.

We discuss the death of Tommy Cooper, a famous ghost of the Adelphi Theatre, things that twist me nips within the paranormal, a message from Tom hanks Plus more, all done with a Paranorm-ale.Message the show, and get a mentionCheck out our YouTube channel Para-letic Activities.

The story of William Terriss - Victorian London's beloved stage hero. While audiences flocked to the Adelphi Theatre, a troubled bit-part actor plotted his downfall. What followed was a sensational courtroom drama, and a ghost story that haunts the theatre to this day.

Towards the end of Mickey-Jo's most recent visit to New York City, he sat down with the award winning visionary and queer icon John Cameron Mitchell to discuss his upcoming West End debut.The writer and original star of HEDWIG AND THE ANGRY INCH (Off and on Broadway, as well as on screen) is performing on Tuesday 8th July at the Adelphi Theatre in London, with a sensational lineup of guest performers.Check out the discussion they shared about the upcoming show, the enduring power of Hedwig, and the role of creativity in fighting back against fascism.About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 80,000 subscribers. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. Instagram/TikTok/X: @MickeyJoTheatre Hosted on Acast. See acast.com/privacy for more information.

Why have one episode of the podcast with Jodie Comer in a week when you can have TWO!?!  Jodie is the guest that keeps on giving so I decided to spoil you this week by dropping a bonus episode with the audience questions from ‘Reign' live on the West End at the Adelphi Theatre. The audience really delivered with the questions, so I wanted to share this part of the show with you. We cover a lot of bases here, from Jodie's surprising first celebrity crush to her amazing words on building a legacy.  I really hope this brings you as much joy and inspiration as it did me and just remember, in the words of the iconic boy band Blue, “one love is all you need,” babes!  Make sure you listen to the full live recording with Jodie, if you haven't already and  I really hope we get to do another live event soon, so follow me on @joshsmithhosts to get updates and I'll see you soon for another episode of Reign. Love Josh x P.S If all this self-love chat has left you wanting to improve your relationships and build new ones, check out my self help book, ‘Great Chat: Talk To Anyone. Make New Connections. Improve Your Relationships' is out now in paperback and audiobook! Whether you are socially anxious or a confident communicator already, the book gives you so much advice on how to have incredible conversations with everyone in any situation, and how you can turn everyday conversations into a self development practice so you can improve your relationships and mental health in the process. You can get your copy here https://geni.us/GreatChat and I really hope you love it! Learn more about your ad choices. Visit megaphone.fm/adchoices

I have lost count how many times you have asked me to get Jodie Comer back on the podcast so when we did we had to go big or go home! So this episode was recorded in front of a 1000 plus strong audience at the Adelphi Theatre in London's West End - it was a dream come true, everyone who came bought the energy and the chat really delivered!  In this episode Jodie reflects back on her career from her very first performance, to her Bafta and Emmy award winning role as Villanelle in ‘Killing Eve'. Just before Jodie embarks on a nationwide tour of her Olivier and Tony Award winning role in the one woman play, ‘Prima Facie' we talk about the game changing conversations around consent the show has started and of course we cover her latest movie role in the eagerly anticipated sequel, ‘28 Years Later' which is out in cinemas now!  As the event also celebrated the paperback release of my book, ‘Great Chat: Talk To Anyone. Build New Connections. Improve Your Relationships' Jodie shares some of the great chats that have shaped her and the power of feeling seen in intimate relationships.  There is so much to take away from this conversation but I really hope Jodie's words inspire you to get out of your own way and find your worth.  If you loved this conversation with Jodie as much as I did, please do get in touch as I love talking to you. You can get me on @joshsmithhosts and come back on Thursday because we will be serving you a bonus episode of the podcast with the audience questions from the show! It's an absolute hoot so you don't want to miss it! Love, Josh x P.S If all this self-love chat has left you wanting to improve your relationships and build new ones, check out my self help book, ‘Great Chat: Talk To Anyone. Make New Connections. Improve Your Relationships' is out now in paperback and audiobook! Whether you are socially anxious or a confident communicator already, the book gives you so much advice on how to have incredible conversations with everyone in any situation, and how you can turn everyday conversations into a self development practice so you can improve your relationships and mental health in the process. You can get your copy here https://geni.us/GreatChat and I really hope you love it! Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessica Martin is an actress, singer, and illustrator. Specialising as an impressionist, her television roles have included Spitting Image, Copy Cats and The Bobby Davro Show. She featured as the werewolf Mags in the 1988 Doctor Who serial The Greatest Show in the Galaxy, and provided the voice of the Queen in the 2007 Doctor Who Christmas special, "Voyage of the Damned". On stage, she starred with Gary Wilmot in the West End show Me and My Girl for two years at the Adelphi Theatre and then on a national tour. She went on to play leading musical roles including Mabel in the 1996 production of Mack and Mabel at the Piccadilly Theatre, Nellie Forbush in South Pacific, Mrs Lovett in Sweeney Todd, Norma Desmond in Sunset Boulevard and the Lady of the Lake in the national tour of Spamalot. Her autobiography, as a graphic novel, Life Drawing: A Life Under Lights, was published in 2019 .Jessica Martin is our guest in episode 483 of My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .Buy Jessica's autobiography, Life Drawing: A Life Under Lights, here - https://www.artymisspublishing.com/new-products/ekbzc3h96cyxui3xaedahdyl2yxg58 .For everything Jessica Martin, visit - https://jessicamartinofficial.com .Follow Jess Robinson on Instagram: @jessica_martinvibe .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.

It's the final episode of the series and Vasco Emauz is In The Frame! Vasco recently took over as Marty McFly in the West End production of Back To The Future. Having opened in London in 2021, Back To The Future has a book by Bob Gale and new music and lyrics by Alan Silvestri and Glen Ballard, alongside additional songs from the film including 'The Power of Love' and 'Johnny B. Goode'.Vasco graduated from the Institute of Barcelona last year and has moved to London to make both his West End and professional debuts in Back To The Future. In this episode, recorded in his dressing room, Vasco discusses his whirlwind journey with Back To The Future so far!Back To The Future is booking at the Adelphi Theatre until 27th July 2025. Visit www.backtothefuturemusical.com for info and tickets. This podcast is hosted by Andrew Tomlins  @AndrewTomlins32  Thank you for listening to In The Frame in 2024 - it has been an amazing year! We're taking a break in January, but expect lots more episodes in 2025. Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Olivier nominee Rachel John (Hamilton / The Big Life) co-hosts The West End Frame Show!Andrew and Rachel discuss The Devil Wears Prada (Dominion Theatre) as well as the latest news about the Hamilton tour, Choir Of Man, Figaro, Fawlty Towers, And Juliet and more. They also pay tribute to Kyle Birch who passed away aged 26 on 2nd December. Kyle was a musical theatre performer and friend of the podcast, having co-hosted The West End Frame Show twice. Andrew and Rachel share memories and send their love to Kyle's family and loved ones.Rachel is preparing to star alongside Oliver Tompsett, Joel Harper-Jackson and Rachael Wooding in Christmas By Candlelight at the Adelphi Theatre on 17th December. Rachel made her professional debut in The Legend of the Lion King at Disnleyland Paris and went on to join the West End productions of The Lion King and Sister Act. After understudying Meat and Killer Queen on the first UK & Ireland tour of We Will Rock You, Rachel transferred to the West End production as Meat, becoming the first black actor to play the role. Rachel's theatre credits also include Mimi in Rent (UK Tour), Felicia in Memphis (Shaftesbury Theatre), Nicki and understudy Rachel in The Bodyguard (UK & Ireland Tour / West End / Toronto), Mrs Neilsen in Girl From The North Country (West End / Toronto), The Ghost of Christmas Present in A Christmas Carol (Old Vic) and Songs for a New World (London Palladium). Rachel released her debut solo album From My Lips To Gods Ear to huge acclaim. In 2017, Rachel originated the role of Angelica Schuyler in the West End premiere of Hamilton, receiving an Olivier nomination for her performance. She did an episode of our interviews podcast In The Frame last year whilst starring as August in the UK premiere of The Secret Life of Bees (Almedia Theatre). Earlier this year Rachel played Zulieka in the London revival of The Big Life (Theatre Royal Stratford East). Christmas By Candlelight is at the Adelphi Theatre on 17th December. Visit www.concertsbycandlelight.com for info and tickets. This podcast is hosted by Andrew Tomlins. @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.   

Joining me this episode to discuss their travel and holiday stories is West End and Broadway sensation, Marisha Wallace! See Marisha's biggest ever solo show at London's Adelphi Theatre on Tuesday 11th March 2025: HERE Please subscribe and review. Thanks, Alan. xx A Keep It Light Media Production Learn more about your ad choices. Visit podcastchoices.com/adchoices

High Rollers LIVE at the Adelphi Theatre in London! Our first ever High Rollers live show features an Altheya Side Quest that takes the heroes up into the Volant Vault, a protomagi vault filled with dangerous traps and deadly encounters! A HUGE thank you to AEG, the Adelphi and, of course, everyone who made the journey to see us at our first ever High Rollers Live Show! Love the podcast? Give us a glittering 5 star review! https://podcasts.apple.com/us/podcast/high-rollers-dnd/id1401508198?see-all=reviews Support the High Rollers on Patreon and get early access to Podcast episodes, vods and more: www.patreon.com/HighRollers Music courtesy of Epidemic Sound, TCT Adventures (Solasta: Crown of the Magisters), Monument Studios and Jolene Khor! Check out Jolene Khor and all her wonderful work on High Rollers on Spotify: https://open.spotify.com/artist/1WX3ICiTmf4GpHwImnQMs6 Learn more about your ad choices. Visit podcastchoices.com/adchoices

High Rollers LIVE at the Adelphi Theatre in London! Our first ever High Rollers live show features an Altheya Side Quest that takes the heroes up into the Volant Vault, a protomagi vault filled with dangerous traps and deadly encounters! A HUGE thank you to AEG, the Adelphi and, of course, everyone who made the journey to see us at our first ever High Rollers Live Show! Love the podcast? Give us a glittering 5 star review! https://podcasts.apple.com/us/podcast/high-rollers-dnd/id1401508198?see-all=reviews Support the High Rollers on Patreon and get early access to Podcast episodes, vods and more: www.patreon.com/HighRollers Music courtesy of Epidemic Sound, TCT Adventures (Solasta: Crown of the Magisters), Monument Studios and Jolene Khor! Check out Jolene Khor and all her wonderful work on High Rollers on Spotify: https://open.spotify.com/artist/1WX3ICiTmf4GpHwImnQMs6 Learn more about your ad choices. Visit podcastchoices.com/adchoices

“Back to the Future: The Musical” adaptation of the beloved 1985 film is currently running at Broadway's Winter Garden Theatre, at The Adelphi Theatre on the West End in London, and the North American Tour will have its first performances at Proctors in Schenectady, New York June 6-8.

The party, reeling from an unexpected and demonic ambush, must now come to terms with the aftermath! ANNOUNCEMENTS: NEW MERCH! We teamed up with GeekyClean to deliver official Altheya themed DiceBombs to enhance your bath time experience! Each bomb is based on our characters and the Dragon Empress with unique scents. They all contain a themed dice set, too! The fun doesn't end there - use the code EXFOLIATE now to get 10% off on checkout when you get the Official Altheya DiceBombs at https://geekyclean.com/! ---------------------- HIGH ROLLERS LIVE in LONDON! We're hosting our first ever High Rollers show in the Adelphi Theatre in London on the 17th September 2024! Tickets live now: https://www.aegpresents.co.uk/event/high-rollers/ Add the Heroes of Altheya Minis to your TTRPG collection here: https://only-games.co/collections/high-rollers A massive thank you to DM Stash for sculpting our incredible models. Browse their catalogue and join the community here: https://dmstash.com/patreon Love the podcast? Give us a glittering 5 star review! https://podcasts.apple.com/us/podcast/high-rollers-dnd/id1401508198?see-all=reviews Support the High Rollers on Patreon and get early access to Podcast episodes, vods and more: www.patreon.com/HighRollers Music courtesy of Epidemic Sound, TCT Adventures (Solasta: Crown of the Magisters), Monument Studios and Jolene Khor! Check out Jolene Khor and all her wonderful work on High Rollers on Spotify: https://open.spotify.com/artist/1WX3ICiTmf4GpHwImnQMs6 Learn more about your ad choices. Visit podcastchoices.com/adchoices

The "Boyos" investigate Guildmaster Morris while Gruff hunts down a cure for the Curse of Harrowing! ANNOUNCEMENTS: NEW MERCH! We're excited to announce the launch of our Heroes Miniatures! Thanks to Only Games and My Mini Factory, you can now add our characters to your tabletop adventures in either standard 32mm or 250% scale! Take a look and add us to your collection: https://only-games.co/collections/high-rollers A massive thank you to DM Stash for sculpting our incredible models. In the month of April they're celebrating their 3 year anniversary with a huge 70% discount for subscribers! Browse their catalogue and join the community here: https://dmstash.com/patreon HIGH ROLLERS LIVE in LONDON! We're hosting our first ever High Rollers show in the Adelphi Theatre in London on the 17th September 2024! Tickets live now: https://www.aegpresents.co.uk/high-rollers-presale/ Love the podcast? Give us a glittering 5 star review! https://podcasts.apple.com/us/podcast/high-rollers-dnd/id1401508198?see-all=reviews --------- Support the High Rollers on Patreon and get early access to Podcast episodes, vods and more: www.patreon.com/HighRollers Music courtesy of Epidemic Sound, TCT Adventures (Solasta: Crown of the Magisters), Monument Studios and Jolene Khor! Check out Jolene Khor and all her wonderful work on High Rollers on Spotify: https://open.spotify.com/artist/1WX3ICiTmf4GpHwImnQMs6 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Fresh from her runs as Elphaba and Fantine, Lucie Jones is preparing to play two solo concerts at Cadogan Hall in May. Lucie is renowned for her solo shows; in recent years she has performed solo concerts at the Adelphi Theatre and His Majesty's Theatre in the West End as well as on tour with the 50-piece Fulltone Orchestra. Lucie has also launched the Lucie Jones Academy and is busy teaching workshops alongside industry friends across the UK and beyond. Lucie burst on to our screens in the 2009 series of The X Factor (ITV) and has gone on to become one of the most renowned leading ladies in British musical theatre. She made her West End debut as Cosette in Les Misérables and went on to play roles including Meat in We Will Rock You (International Arena Tour), Victoria in American Psycho (Almedia Theatre), Molly in Ghost (Asian Tour), Elle Woods in Legally Blonde (Leicester Curve & UK Tour), Holly in The Wedding Singer (UK Tour), Maureen in Rent (St James Theatre & UK Tour), Lou in Girlfriends (LMTO), Heidi in Title Of Show (Digital Production) and The Ghost Of Christmas Past in A Christmas Carol (Dominion Theatre). Lucie had an acclaimed run as Jenna in Waitress (Adelphi Theatre / UK & Ireland Tour). Her most recent credits include starring as Elphaba in Wicked (Apollo Victoria Theatre) and Fantine in Les Misérables (Sondheim Theatre). Lucie also recently starred in the workshop of 13 Going On 30, the staged concert of Super You (Lyric Theatre) and is about to play Catherine in the Pippin 50th Anniversary Concert (Theatre Royal Drury Lane). Lucie represented the United Kingdom at the Eurovision Song Contest in Kyiv, Ukraine in 2017 and released the album Lucie Jones Live At The Adelphi in 2020. Marking her third time In The Frame, in this episode we rewind to Lucie's early days post X Factor and how she took control of her career early on. Lucie also discusses her final Elphaba show, her run as Fantine, hustle culture and the friends she has picked up throughout her career...and so much more!You can see Lucie in concert at Cadogan Hall on Sunday 12th May 2024. Visit www.cadoganhall.com for info and tickets. For details about The Lucie Jones Academy visit www.luciejones.com/academy Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  46s Film Making 46s: Filmmakers talk origins, challenges, budgets, and profits.Listen on: Apple Podcasts Spotify

The Green Tiefling Kalifris re-emerges with a gift for the team! ANNOUNCEMENTS: HIGH ROLLERS LIVE in LONDON! We're hosting our first ever High Rollers show in the Adelphi Theatre in London on the 17th September 2024! Tickets live now: https://www.aegpresents.co.uk/high-rollers-presale/ Love the podcast? Give us a glittering 5 star review! https://podcasts.apple.com/us/podcast/high-rollers-dnd/id1401508198?see-all=reviews --------- Support the High Rollers on Patreon and get early access to Podcast episodes, vods and more: www.patreon.com/HighRollers Music courtesy of Epidemic Sound, TCT Adventures (Solasta: Crown of the Magisters), Monument Studios and Jolene Khor! Check out Jolene Khor and all her wonderful work on High Rollers on Spotify: https://open.spotify.com/artist/1WX3ICiTmf4GpHwImnQMs6 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Rowan and Xantheus are stricken with a terrible curse and must find a way to cure it! ANNOUNCEMENTS: HIGH ROLLERS LIVE in LONDON! We're hosting our first ever High Rollers show in the Adelphi Theatre in London on the 17th September 2024! Tickets live now: https://www.aegpresents.co.uk/high-rollers-presale/ Love the podcast? Give us a glittering 5 star review! https://podcasts.apple.com/us/podcast/high-rollers-dnd/id1401508198?see-all=reviews --------- Support the High Rollers on Patreon and get early access to Podcast episodes, vods and more: www.patreon.com/HighRollers Music courtesy of Epidemic Sound, TCT Adventures (Solasta: Crown of the Magisters), Monument Studios and Jolene Khor! Check out Jolene Khor and all her wonderful work on High Rollers on Spotify: https://open.spotify.com/artist/1WX3ICiTmf4GpHwImnQMs6 Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 2020, West End audiences were getting ready for a long awaited revival of the musical comedy HELLO, DOLLY! starring Olivier Award winning actress Imelda Staunton at London's Adelphi Theatre. One pandemic and four years later, the show is finally making its way to a stage, albeit a different one as the same production readies to begin its limited run this summer at the London Palladium. Check out the new episode for some history on the show, why Mickey-Jo is excited for it and everything we know about this upcoming revival... • About Mickey-Jo: As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 60,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows both in New York, London, Hamburg, and Paris. He has also twice received accreditation from the world renowned Edinburgh Fringe Festival. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

The Scarred Lady appears in the Enticing Devil and has taken control of our dear Dhampyr Ophelia! ANNOUNCEMENTS: HIGH ROLLERS LIVE in LONDON! We're hosting our first ever High Rollers show in the Adelphi Theatre in London on the 17th September 2024! Sign up now to get access to tickets the moment they go live here: https://www.aegpresents.co.uk/high-rollers-presale/ Love the podcast? Give us a glittering 5 star review! https://podcasts.apple.com/us/podcast/high-rollers-dnd/id1401508198?see-all=reviews --------- Support the High Rollers on Patreon and get early access to Podcast episodes, vods and more: www.patreon.com/HighRollers Music courtesy of Epidemic Sound, TCT Adventures (Solasta: Crown of the Magisters), Monument Studios and Jolene Khor! Check out Jolene Khor and all her wonderful work on High Rollers on Spotify: https://open.spotify.com/artist/1WX3ICiTmf4GpHwImnQMs6 Learn more about your ad choices. Visit podcastchoices.com/adchoices

At the weekend, the London Palladium in the West End hosted another concert, a 10th anniversary celebration of the short lived musical adaptation of MADE IN DAGENHAM. The show, which previously ran at the Adelphi Theatre starring Gemma Arterton, now featured Pixie Lott, Killian Donnelly, Bonnie Langford, and more. Check out the new review for Mickey-Jo's thoughts on the show, this concert and its cast... • About Mickey-Jo: As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 60,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows both in New York, London, Hamburg, and Paris. He has also twice received accreditation from the world renowned Edinburgh Fringe Festival. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

Two actors met in London but both had quite different backstories. Their friendship soon turned into a bitter jealous rivalry, one which would result in murder, minutes before one of them was to take to the stage. Today on Macabre London, we uncover the murder of William Terris at The Adelphi Theatre.Thank you to todays sponsor The Art Of Crime Podcast - https://www.artofcrimepodcast.com/subscribe------------------------Podcast: https://podfollow.com/1180202350Macabre London is a fortnightly podcast and YouTube show that delves into London's haunted and gruesome history alongside discovering Macabre mini Mysteries from all over the world!Be sure to check out my other podcast, Killers, Cults & Queens with Cheryl Hole https://podfollow.com/queens---------------------------SUPPORT ME————————ONE OFF DONATIONS: Paypal - paypal.me/macabrelondonKO-FI: ko-fi.com/macabrelondonPATREON: www.patreon.com/macabrelondonAMAZON WISHLIST - http://amzn.eu/dJxEf1V​​​​​​MERCH! - https://macabrelondon-shop.fourthwall.comPATREON - www.patreon.com/macabrelondon——————————-Thank you to our executive producer patrons - Christina, Christophe, Lisa, M, Ravelle, Rose, Sally, Sam, Sarah, Terri, Vee, VeronicaAnd to all of our wonderful £5 tier patrons...Lindal Victoria ZozoLAMLucy Talli Claire Verena Inge Kim Amy ClaireAndreaKathryn Jo David ShannonCreepy PaperRachelDeniseHelenSabrinaAndrew And thanks to all other patrons too!————————SOCIAL MEDIA---------------------------------------------Insta: @nikkimacabrelondonX: @macabrelondonTikTok: @macabrelondonFacebook: @macabrelondonEmail: macabrelondon@hotmail.comSources-------------Published: Wednesday 22 December 1897 Newspaper: Manchester Evening News "Obituary, Mr. Robert Courtneidge", The Times, 8 April 1939, p. 14https://www.oxforddnb.com/display/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-27144https://en.wikipedia.org/wiki/William_Terrisshttps://en.wikipedia.org/wiki/Richard_Archer_Princehttps://www.haunted-britain.com/the-ghost-of-william-terriss.htmBy Diliff - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=38915795 Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Embark on a risqué festive adventure with Sleeping Beauty Takes A Prick! The latest adults-only pantomime from the brilliant minds behind Above The Stag Theatre's legendary queer Christmas shows. Prepare for a riotous treat, filled with Matthew Baldwin's hilarious antics as Queen Gertrude.  If you crave interactive hilarity, dive into the unpredictable world of Faulty Towers Dining Experience, where Basil, Sybil, and Manuel serve up mayhem alongside a 3-course meal, delivering non-stop laughter and unexpected surprises. For a south London pantomime extravaganza, join the journey through Jack and the Beanstalk, written and directed by Susie Mckenna. With a funky Giant, magic beans, and soulful songs, this is a pantomime tailored for the local audience.  In Hackney, Clive Rowe directs and stars as Widow Twankey in the magical world of Aladdin, featuring an incredible cast, dazzling costumes, and plenty of laughter. Clive is joined by Natasha Lewis as Abby-na-zaaar!, Ruth Lynch as Spirit of the Ring, Fred Double as Aladdin, Isabella Mason as Jazz, George Heyworth as Mildew Funk, Rishi Manuel as Wishy, and Kat B as the Genie.  Entertainers dazzled audiences with live shows at the Adelphi Theatre, featuring cover bands paying tribute to music legends. An Evening of Burlesque brought world-class entertainers, feathers, and fabulous costumes, setting the stage for a night of glitz and glamour. Radio GaGa honoured Freddie Mercury with hit after hit, while Thank You For The Music - ABBA Tribute celebrated two decades of ABBA's timeless tunes with harmonies, colourful costumes, and dazzling performances. At the National Theatre, witness the intense drama of House of Bernarda Alba, where Olivier Award-winner Harriet Walter portrays a formidable matriarch navigating the complexities of her family's desires. Director Rebecca Frecknalland writer Alice Birch bring a radical twist to Federico García Lorca's modern masterpiece. In an exclusive interview, actor and writer Joshua Maughan provides insights into his upcoming play, Our 1972, set to captivate audiences at the Hope Theatre in January 2024. Get ready for a podcast episode brimming with laughter, drama, and fascinating conversations with some of the brightest stars in London's theatre scene!

Sarah Goggin recently took over as Lorraine in the London production of Back To The Future which has entered its third year at the Adelphi Theatre.Based on the 1985 film, Back To The Future has a book by Bob Gale and new music and lyrics by Alan Silvestri and Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.Some of Sarah's theatre credits include: Helen Walsingham in Half A Sixpence (Kilworth House), Monica in Friendsical (UK Tour), Sister Mary Robert in Sister Act (UK Tour & Kilworth House), Rachel in Bad Girls (The Union) and Woman 1 in I Love You You're Perfect Now Change (Battersea Barge). She played Janey and understudied Kim in the 2013 production of Taboo at Brixton Clubhouse and returned to the show to play Tart/Freak for the musical's 20th anniversary concert at the London Palladium. Back To The Future is booking at the Adelphi Theatre until 21st July 2024. Visit www.backtothefuturemusical.com for info and ticketHosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Jessie part two.This is the second instalment of a three part mini-series about the 1930s' biggest UK film star, Jessie Matthews.Evergreen (1934) was based on Ever Green, CB Cochran's 1930 musical spectacular at the Adelphi Theatre. Jessie starred as Harriet Green in both the stage show and the film.We're joined by Dr Melanie Williams of The University of East Anglia to talk about the film and Rob Baker, Jade Evans and Dr Lawrence Napper return to the show to talk about Jessie's life. Evergreen is the story of two Harriet Greens, in which one Harriet finds fame and fortune by impersonating the other.Evergreen was third of five Jessie Matthews films directed by Victor Saville and co-starred Mr Jessie Matthews, Sonnie Hale. Barry Mackay plays the love interest, Tommy Thompson and Betty Balfour plays Maudie, continuing her successful transition from silent films to talkies. Watch this 1981 BBC documentary about Jessie Matthews.Jessie appeared on This is Your Life in 1961.Jessie's biographer, Michael Thornton wrote this appalling, salacious, muckraking and probably untrue article for the appalling, salacious, muckraking Daily Mail which I have pasted it into this Google Doc to deprive the Mail of your clicks.Melanie has a ton of film & TV writing out there including books on David Lean and A Taste of Honey. Follow her on the site formally known as Twitter.Rob Baker is on Twitter too and you can buy his books HERE.Article about...

Hello and welcome to Secure The Insecure hosted by Johnny Seifert.On this episode you will hearJay Perry open up to what life was like being part of the S Club Juniors/ S Club 8 and how he shifted to being a West End star.You can see Jay in Back To The Future The Musical at the Adelphi Theatre now and later this year in Diana The Musical at the Eventim Apollo.Secure The Insecure is the celebrity mental health podcast that airs on Mondays and Fridays available to watch on Youtube or listen to on Apple Podcasts and Spotify. Make sure you subscribe/rate/review where you are watching or listening to Secure The Insecure.Follow Johnny Seifert on Social Media:Twitter: www.twitter.com/JohnnySeifertInstagram: www.instagram.com/johnnyseifertInstagram: www.instagram.com/securetheinsecurepodcastTikTok www.tiktok.com/johnnyseifert92 Hosted on Acast. See acast.com/privacy for more information.

Best of London in one Day: Wie viele Highlights und Sehenswürdigkeiten kann man an einem einzigen Tag in der englischen Metropole erleben? Claus Beling probiert es aus. Zusammen mit seinem Enkel Constantin begibt er sich auf einen temporeichen 24-Stunden-Trip durch die pulsierende Weltstadt: Startpunkt ist der legendäre „Tower of London“ mit seinen Kronjuwelen und Foltergefängnissen. Weiter geht es mit einer Bootsfahrt auf der Themse zu Europas höchstem Riesenrad - dem „London Eye“. Von dort führt die Route unserer Entdecker weiter zum „Buckingham-Palace“ und dem „British Museum“ mit der größten Mumien-Ausstellung der Welt. Kurzer Stop im Kult-Kaufhaus „Harrods“ und weiter ins "Adelphi Theatre" im Londoner Westend zum Musical "Back to the Future". Spät nachts mit einem der kultigen "Black Cabs" Taxis zurück ins Hotel und tot müde ins Bett. What a Day! -- BRITPOD - England at its Best - wird präsentiert von Romance TV. Dem Zuhause der Rosamunde-Pilcher-Filmreihe und romantischer Serien. -- Ein ALL EARS ON YOU Original Podcast.

Earlier this week, the new musical adaptation of the hit film BACK TO THE FUTURE opened at the Winter Garden Theater on Broadway. Although the show is still successfully running at the Adelphi Theatre in the West End and won the 2022 Olivier Award for Best New Musical, it received largely negative reviews from the New York critics. In this episode Mickey-Jo discusses the different responses to both the Broadway and West End productions and discusses the differences between critics on either side of the Atlantic. • 00:00 | introduction 01:54 | west end reviews 09:20 | broadway reviews 26:10 | what does this mean? • • About Mickey-Jo: As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 60,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows both in New York, London, Hamburg, and Paris. He has also twice received accreditation from the world renowned Edinburgh Fringe Festival. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

Julie Moncrieff Anthony (nee Lush) was born on a farm at Galga, South Australia. The population of the location was 15 and by necessity cultivated a vivid imagination in young Julie and a talent to amuse.  She began singing in her teens with a local band, an engagement instigated by her enthusiastic father.  In 1970 Julie won an amateur television talent quest which led to regular appearances on Ernie Sigley's Adelaide Tonight. She moved to Sydney, making television appearances and performing on the club and cabaret circuit, eventually extending her music-making to international tours. An engagement at the Hong Kong Hilton in 1973 was followed by lead role in the Australian production of the musical Irene. Julie was keen to diversify her talents, so without any acting credits presented herself to J.C. Williamson's to extend her performance repertoire. Guided by the legendary Betty Pounder, Julie Anthony became Irene O'Dare and three years after the Australian production, she starred in the West End at the Adelphi Theatre. The Play and Players of London honoured her with the Best Newcomer for 1976. She returned to Australian television and appeared in three national specials. Julie won the Sammy and Penguin awards for Best Television Variety Performer. Tours of America followed and Julie Anthony worked with Bill Cosby, Roy Clarke and Merv Griffin. Julie played Maria in The Sound Of Music in 1983 for JCW.  For the 1988 World Expo in Brisbane, Anthony was invited to sing with the renewed Seekers, joining the group as lead singer from 1988-89. The same year she returned to the stage in I Do!, I Do!.  In 1990, she was awarded AM in the Order of Australia for services to the entertainment industry. Anthony teamed with jazz musician Don Burrows in 1994 for tours, including the Jazz and Blues Festival at the Gold Coast International Hotel in 1995. A year later she returned to cabaret with a season at the Tilbury Hotel in Sydney.  Julie Anthony's voice is known to millions for singing the national anthem live at various formal events and in recorded versions that have included the broadcast closing time of ABC television, Australian Football League finals, the opening of Australia's new Parliament House and the opening of the Sydney Olympics. Her theatrical ventures continued in productions of Spamalot as The Lady of the Lake and The Mikado as Katisha. She starred in a biographical musical at the Sydney Theatre Company, titled Lush! And for several decades performed with Simon Gallaher in live concerts and on television, proving they had a remarkable vocal blend. Their hit series of concerts titled Together At Last produced an album which was recorded live in concert. This album was in addition to Julie's extensive recording output of some 15 albums and various singles. Julie Anthony has won Australia's prestigious Mo Award for entertainer of the year three times and best female variety performer nine times. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

I'd never been on a ride down a birth canal before

This episode links events that happened in different eras; two actors perform Othello 100 years apart, two musical geniuses live next door, two centuries apart, and one murder leads to ghostly apparitions for over a century. Hosted by Neil Fleming: The Golden Earrings written by Milo Harries, performed by Stephen Fry [The Savoy Theatre, The Strand, and The Theatre Royal, Covent Garden]It's the Messiah written by James Rampton, performed by Neil Fleming [40 South Moulton St and 25 Brook St, Mayfair] 193 Steps written by Robbie Stamp, performed by Kate Reid [Maiden Lane, The Stage Door of the Adelphi Theatre and Covent Garden Tube Station]

Will Haswell is one of the original cast members of Back to the Future The Musical. He's currently appearing at the Adelphi Theatre in London's West End where he's played Dave McFly, Sam Baines, Slick, Asbestos Guy(!) and Alternate Marty. Will was involved in some of the early workshops for Back to the Future The Musical before joining both the Original Manchester Cast and Original West End Cast. While chatting with us, he shared loads of brilliant stories about how he got interested in musical theatre, what it was like to be in the workshops, understudying the role of Marty McFly, the opening night in Manchester, the challenges of playing several ensemble roles with so many costume changes… and he answers a LOT of questions from our Back to the Future The Musical Fans Facebook group members! WARNING: Contains minor spoilers about Back to the Future The Musical. Recorded: 16th June 2023

Olivia Moore is currently playing Sandy in the West End revival of Grease.Returning to the Dominion Theatre for a second year, this is an all-new production of Grease directed by Nikolai Foster with choreography by Dame Arlene Philips. Olivia made her professional debut in the UK premiere of Heathers at The Other Palace and stayed with the show for its West End transfer to the Theatre Royal Haymarket, understudying the roles of Veronica and Heather McNamara.She went on to join the original West End cast of Waitress at the Adelphi Theatre, understudying and regularly playing the roles of Jenna and Dawn.In this episode, Olivia discusses what it's like to be returning to Grease, combatting nerves, conquering huge roles and lots more. Grease runs at the Dominion Theatre until 28th October. Visit www.greasemusical.co.uk for info and tickets. Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Cory English joined the West End cast of Back to the Future The Musical as Doc Brown at the Adelphi Theatre in London for 6 weeks in November 2022 before taking over the role in March 2023. In this interview Cory shares some great stories about how he got into theatre, how he landed this part, how he developed the character, some of the challenges and demands of the role, his sources of inspiration, hoverboards, dancing, and he answered quite a few questions from members of the Back to the Future The Musical Fans Facebook group! WARNING: Contains minor spoilers about Back to the Future The Musical. Recorded: 3rd May 2023

We're delighted and privileged to be releasing today's podcast on the 200th anniversary of the death of Billy Waters.Born in 1776 Waters was a familiar sight on the Strand in London.  He was a black ex-sailor who had been invalided out of the Navy after losing a leg.  With a crude wooden prosthesis he danced and also played the violin outside the Adelphi Theatre.  He became so famous that a whole industry grew up around him - his picture was painted by celebrated artists of the time, there were porcelain statues of him on sale and he was even portrayed in a popular play.  Sadly this story does not end well.Why do we refer to him as "Waters" and not "Billy"?  precisely because "Billy Waters" became a fictionalised character.  In this podcast Dr. Mary Shannon talks about the real man behind the myth and how popular culture has not changed much in 200 years.  The "fame game" is still exploiting the vulnerable.  What has changed considerably is the life of the busker and we're also fortunate to have first hand experiences of the modern day busking life told to us by Charlotte Campbell.We've told some sad tales during the time we've been recording our podcasts, but Waters' is possibly the most tragic.  We just hope that we can contribute a little to seeing him get the attention he deserves.Guest:  Dr. Mary ShannonGuest:  Charlotte CampbellHost:  Lottie WalkerProduction & Editing:  Harry JacobsFind out  more about Mary:https://pure.roehampton.ac.uk/portal/en/persons/mary-l-shannonLook out for Mary's book,   "Billy Waters is Dancing", which  will be published by Yale University Press.This research received support of a Linda H. Peterson Fellowship awarded by the Research Society for Victorian Periodicals and funded from the bequest of the Eileen Curran estate; it is currently funded by a Leverhulme Trust Research Fellowship Grant.Leverhulme Trust:https://www.leverhulme.ac.uk/The Research Society for Victorian Periodicals:https://rs4vp.org/Find out more about Charlotte:https://www.charlottecampbell.co.uk/More from Mary about Waters on BBC Radio 3:https://www.bbc.co.uk/programmes/m001k1g8Thank you for listening. If you've enjoyed today's podcast do subscribe via your streaming platform so that you never miss an episode and you can catch up on past episodes.If you'd like to help us to keep the podcast going in these tough times, please consider becoming a patron. It's really easy to do. Just go to :https://www.patreon.com/bluefiretheatreif you're more comfortable with a one off donation you can do this via our website:https://www.bluefiretheatre.co.uk/or buy us a coffee on:https://ko-fi.com/bluefiretheatreEven the smallest donation helps us get our shows on the road and keep the lights on in the studio and we are so grateful for all your help and support.And finally...don't forget to follow us on social media. We'd love to hear from you!Find us at:https://twitter.com/famous_heardhttps://www.instagram.com/bluefire_tchttps://www.facebook.com/bluefirepodcast

Ben Joyce is currently starring as Marty McFly in the West End production of Back To The Future The Musical at the Adelphi Theatre. Based on the 1985 film, Back To The Future has a book by Bob Gale, featuring sixteen new songs with music and lyrics by Alan Silvestri and Glen Ballard with additional songs from the film including 'The Power of Love' and 'Johnny B. Goode'. The show premiered in the West End in 2021 and is set to open on Broadway later this year. Ben recently made his West End debut as Frankie Valli in the London revival of Jersey Boys at the Trafalgar Theatre. For his performance, Ben received two Stage Debut Award nominations.Elsewhere, he did the workshop for The Little Big Things and filmed a role in The Power (Sister Pictures/Amazon Prime).This episode was recorded backstage at the Adelphi Theatre in Ben's dressing room!Back To The Future is booking at the Adelphi Theatre until Sunday 22nd October 2023. Visit www.backtothefuturemusical.com for info and tickets. Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Natalie and Darren discuss a plethora of theatre we've seen in February and recommendations of what's on in February/ March. Productions reviewed in this episode include: Best of Enemies at Noel Coward Theatre, Back to the Future at Adelphi Theatre, Noises Off at The Pheonix Theatre, To Kill A Mockingbird at Gielgud Theatre, Frantic Assembly's Othello at Lyric Hammersmith, Smoke at Southwark Playhouse.

And so to where I wait, come gently on...

"as flies to wanton boys are we to the gods"

By Davy Crockett You can read, listen, or watch By 1906, when the pedestrian era was over, most of the elite pedestrians turned to legitimate professions to support their families. Daniel O'Leary was traveling for a big publishing house. John “Lepper” Hughes was in the real estate business, Jimmy Albert was a Texas cattleman, Robert Vint was an oil agent in Russia. Samuel Day was a house painter in Pittsburgh, Pennsylvania. But many others had a darker side, driven by motivations of greed and were not necessarily the most outstanding citizens. It should not be too surprising that many were involved in wild free-spending lifestyles, scandals, illegal activities, and run-ins with the law. This episode will concentrate on the strange darker side of the sport during the late 1800s. Future episodes will focus on corruption during the races and some bizarre love triangles among the running community. Run Davy Crockett's Pony Express Trail 50 or 100-miler to be held on October 14-15, 2022, on the historic wild west Pony Express Trail in Utah. Run among the wild horses. Crew required. Your family and friends drive along with you. http://ponyexpress100.org/ Publicity Fraud and Redemption The year 1879 saw an explosion of people trying to enter the ultrarunning/pedestrian sport with at least 90 six-day races held worldwide with 900 starters. That year, Madame Waldron and Walter Moore tried their hands at going after the fame and fortune of pedestrianism. Their story is interesting because they both degraded into serious fraud but later, they turned around their lives serving the downtrodden in their community. Harriet “Hattie” L. (Waldron) Adams (1845-1911), of Brooklyn, New York (also known as Madame Waldron), became a female pedestrian in 1879. She married very young, in 1861, at the age of seventeen, to Henry Adams and they had a daughter, Emma. Henry likely died and in 1879, as the Pedestrian craze took hold in America, Hattie turned to the sport to start a new life and attempt to earn a fortune. Skating in the Brooklyn Rink In January 1879, Adams (Madame Waldron) walked 150 miles in 50 hours at the Adelphi Theatre in New York City. Next, on March 3, 1879, she competed in an “International Pedestrian and Billiard Tournament” that was held at the Brooklyn Roller Skating Rink, near Dr. Justin D. Fulton's Temple. Pedestrians, male and female from nine countries attempted various walks for huge money on seven sawdust tracks, each 20 laps to a mile, set up in the building. It was an amazing spectacle. “Its entire appearance had been changed from a mammoth, bleak and dreary barn to a bright and cheery place of amusement. Between the tracks were placed rows of evergreens, shrubs and flowing plants which gave the floor much of the appearance of a garden. Three full-sized billiard tables were placed in a space in the center of the rink. From the roof were pendant hundreds of bright flags. At the rear of the hall was a large music gallery.” Adams/Madame Waldron and one of the most famous female pedestrians, May Marshall, attempted to walk 4,000 quarter miles in 4,000 quarter hours. Adams was said to be “of large statue but attractive,” 180 pounds, and claimed to be “the heavyweight champion of America.” She did not succeed in the very difficult 1,000-mile walk but had tasted the spotlight of fame and wanted more. A couple months later, Adams competed against Walter Moore (1854-1915), a novice walker and construction worker from Brooklyn, attempting 2,700 miles in 2,700 quarter hours in Brooklyn at Bennett's Hotel on Atlantic Avenue. They did not make it, covered at least 111 miles, but they did evidently find love and got married. Walter Moore started going by the name of Charles Livingston and claimed that he successfully walked 4,000 quarter miles in 4,000 quarter hours, which was not true. Fasting for 42 Days After their short pedestrian careers were over,

For Video Edition, Please Click and Subscribe Here:https://youtu.be/jXq_j73Iaqg Lorna was born in Carrier Mills, Illinois. At 17 she won Talentville USA, a nationwide talent contest sponsored by Coca Cola - the equivalent today to America's/Britain's Got Talent - culminating in finals in New York, but she chose instead to go to Indiana University to study for a degree in music before joining the Metropolitan Opera National Company and subsequently touring all over the United States and Canada. However, her love for Musical Theatre totally overwhelmed that of her love for opera…and a very happy career in musicals has followed. She arrived in London in 1971 to star as Magnolia in SHOW BOAT with Dame Cleo Laine at the Adelphi Theatre - the show was such a smash-hit that it ran for a then-record 2 years and 3 months. The production was recorded and presented on the Tony Awards as the best International production of that season. Lorna fell in love with London, staying in the UK to star in many musicals (SIDE BY SIDE BY SONDHEIM, HELLO DOLLY! (with Danny La Rue), and THE KING AND I among them), the European premiere of CLOSER THAN EVER, SEVEN DEADLY SINS in Monaco's Princes Grace Theatre, concerts in all the major London venues (Barbican, Royal Festival Hall, Royal Albert Hall, Palladium, Theatre Royal Drury Lane) and worldwide with the major symphony orchestras with conductors Skitch Henderson and Don Pippin (Carnegie Hall, New York Town Hall, Brisbane Cultural Center, Napa Valley Opera House), the Hong Kong Arts Festival, extensive television appearances including The Royal Variety Performance and her own highly rated BBC series, MY SERENADE and LORNA DALLAS. . .MY MUSICAL WORLD.  http://WWW.LORNADALLAS.COM