Podcasts about National Theatre

To be or not to be - that is the question... Or is it "Do You Hear The People Sing?" As Les Misérables celebrates 40 years in the West End, Sarah and Alex reflect on the runaway success of the iconic musical that has enchanted audiences for decades. What does it say about the critics that they got it so wrong? Meanwhile, the National Theatre has opened a new production of Hamlet - laden with Easter eggs and references - and a standout performance that wowed Sarah! Hosted on Acast. See acast.com/privacy for more information.

The Royal Albert Hall was the unlikely venue for the biggest Sumo wrestling tournament ever staged outside of Japan on 9th October, 1991. Around forty wrestlers, described in the press as “bouncing like fat Buddhas,” thundered across a ring on clay sourced from a field near Heathrow.  Part of the grand Japan Festival - a four-month cultural takeover marking 100 years of the Japan Society, including kabuki at the National Theatre and Buddhist sculptures at the British Museum - demand for tickets was sky-high, thanks to Channel 4's cult Friday night sumo broadcasts. A Shinto-style canopy was shipped over, and reinforced hotels were arranged for the athletes, complete with detachable showers, reinforced beds, and double-sized meals to help them hit their 7,000-calorie daily target. The lineup featured stars with nicknames like “The Killer Whale,” “The Plum,” and the 37-stone “Dump Truck,” Konishiki Yasokichi. In this episode, Arion, Rebecca and Olly consider the impact the festival had on introducing Londoners to Japanese culture; reveal why the wrestlers had a pit-stop in Anchorage on their way to England; and explain why some fans didn't tell their colleagues they were attending… Further Reading: • ‘Albert Hall hosts first sumo tournament held outside Japan' (The Guardian, 1991): https://www.theguardian.com/theguardian/2013/oct/10/sumo-wrestling-royal-albert-hall • ‘Sumo Wrestling's Solid Foundation in the UK and Europe' (SportsLook, 2023): https://featured.japan-forward.com/sportslook/sumo-wrestlings-solid-foundation-in-the-uk-and-europe/ • ‘Sumo: Terao v Kotogaume 1991 (London)': https://www.youtube.com/watch?v=Fa0TrLXi-uk #Japan #Sport #London #90s Love the show? Support us!  Join 

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

Matthew Bannister onDame Jane Goodall, the primatologist and environmental campaigner who changed our understanding of animal behaviour. Chris Packham pays tribute.Tony Harrison, the Yorkshire born poet who took his writing to new audiences through theatre and TV. Michael Rosen assesses his work. Lord Menzies Campbell, the former leader of the Liberal Democrats.Danny Thompson, the upright bass player who blended folk and jazz and worked with musicians ranging from Kate Bush, Paul Weller to John Martyn and Donovan - who shares his memories. Interviewee: Chris Packham Interviewee: Professor Ben Garrod Interviewee: Michael Rosen Interviewee: Magnus Linklater Interviewee: Donovan Interviewee: Jacqui McShee Interviewee: Martin SimpsonProducer: Gareth Nelson-DaviesArchive used: Tony Harrison, Meriden, BBC World Service, 21/10/1992; The Mysteries, Cottesloe Theatre, The National Theatre, Channel 4 Television, Directed by Bill Bryden, Writer Tony Harrison,,1985; V by Tony Harrison reads short extract from the poem 'V'. BBC Radio 4, 21/01/2013; Menzies Campbell Elected Leader Of The Liberal Democrats, BBC News, 02/03/06; Menzies Campbell, Desert Island Discs, BBC Radio 4, 17/10/2004; Menzies Campbell, Iraq War, BBC News, 24/02/2009; Danny Thompson plays bass, extract from, Pentangle - Blue Monk, Songs From The Two Brewers, ITV, Danny Thompson YouTube Channel, 08/05/1970;

Sarah and Alex catch up on the latest in a hectic season of theatre and talk about why The Weir by Conor McPherson really is one of the great plays of the past 50 years. And - actors getting wet is always irresistible, but does it just make you think about drainage? Hosted on Acast. See acast.com/privacy for more information.

The Stage Show is back from sabbatical! On this episode, star playwright Suzie Miller speaks to Michael about Inter Alia, her gripping new play that takes you into the mind of a feminist judge, who's also a mother, forced to confront a terrible reality. It's just wound up a big season at London's National Theatre, starring Rosamund Pike.Lisa Pellegrino is part of a family that migrated from Italy and Scotland to Australia and recorded everything. From having funerals professionally photographed, to recording each other singing, reminiscing and celebrating. So how has she turned that archive of memories and migration into a story for the stage? Her one-woman show We Keep Everything is on at Darwin's Browns Mart Theatre.Karen and Natasha Vickery are mother-and-daughter performing in a gender-reversed Taming of The Shrew. How does this transform Shakespeare's problematic comedy -- and what does their own dynamic bring to the play? It's a production by the Playwrought Project.

Welcome back to the latest episode of The Filmmakers Podcast, the show that takes you behind the scenes of making feature films and TV. This week, we are privileged to host the brilliant creative team behind Brides, an urgent and empathetic feature film that tackles one of the most complex and heartbreaking social issues of our time. First, we welcome our Oscar-nominated producer, Nicky Bentham. Known for critically acclaimed and diverse films like the sci-fi hit Moon starring Sam Rockwell, the drama The Duke with Jim Broadbent and Helen Mirren, and the Oscar-qualified short film The After, Nicky is here to discuss her latest powerful project Brides. Joining her is the film's celebrated screenwriter, Suhayla El-Bushra. A renowned playwright and television writer with credits including the TV series Ackley Bridge and a stage adaptation of The Suicide for the National Theatre, Suhayla is the precise and compassionate writer who penned this complex story directed by Nadia Fall. They are here to discuss Brides, a film inspired by real-life events. It follows two disillusioned teenage best friends, Doe and Muna, as they run away from their troubled lives in the UK, making a perilous journey towards Syria. The film, a thought-provoking road drama that stands for empathy and understanding, exploring the vulnerability and desperation that drives marginalized young women to seek identity and belonging in radical choices. The film challenges dominant narratives, insisting that we look at the choices of young people through a lens of compassion rather than condemnation. Let's dive into their conversation about this gripping and vital film. This is The Latest Filmmakers Podcast. OTHER LINKS DIRTY BOY cinema listings FOOD FOR THOUGHT documentary out NOW | Watch it FREE HERE. A documentary exploring the rapid growth and uptake of the veganlifestyle around the world. – And if you enjoyed the film, please take amoment to share & rate it on your favourite platforms. Every review& every comment helps us share the film's important message withmore people. Your support makes a difference! PODCAST MERCH Get your very own Tees, Hoodies, on-set water bottles, mugs and more MERCH. https://my-store-11604768.creator-spring.com/   COURSES Want to learn how to finish your film? Take our POST PRODUCTION COURSE https://cuttingroom.info/post-production-demystified/   PATREON Big thank you to: Serena Gardner Mark Hammett Lee Hutchings Marli J Monroe Karen Newman Want your name in the show notes or some great bonus material on filmmaking? Join our Patreon for bonus episodes, industry survival guides, and feedback on your film projects!   SUPPORT THE PODCAST Check out our full episode archive on how to make films at TheFilmmakersPodcast.com   CREDITS The Filmmakers Podcast is written and produced by Giles Alderson @gilesalderson Edited by @tobiasvees Logo and Banner Art by Lois Creative  Theme Music by John J. Harvey Learn more about your ad choices. Visit megaphone.fm/adchoices

Leonardo DiCaprio and director Paul Thomas Anderson tell Tom about their new film One Battle After Another. Our reviewers tonight are film critic Tim Robey and theatre critic Sarah Crompton. They also review The Land of the Living, David Lan's new play for the National Theatre, directed by Stephen Daldry and starring Juliet Stevenson .And Patricia Lockwood's latest novel Will There Ever Be Another You? Presenter: Tom Sutcliffe Producer: Eliane Glaser

There has been a renewed conversation regarding sex after childbirth following a recent episode of the CBeebies Parenting Helpline podcast which tackled the topic of libido in the time after having a baby. It can be a very confusing time when it comes to your relationship with your body, so how do you navigate those ‘blurred lines' between your roles as mother, partner, and sexual being. Nuala McGovern is joined by journalist and author Nell Frizzell, who's written about her own experiences, and consultant obstetrician and gynaecologist, Dr Karen Joash.Ruby Tui was the star of the last Women's Rugby World Cup, held in her native New Zealand in 2021. She's now regarded by many to be the star of the BBC's coverage of this year's World Cup, held in England. The tournament has broken records, from viewership to ticket sales and reflects the rapidly rising profile of the women's game. Ruby Tui reflects on the tournament and her own journey to the top of the sport.A form of family violence which receives minimal attention and is arguably the most hidden form of abuse within the home is known as CAPVA. This stands for child and adolescent to parent violence and abuse. Today the charity Action for Children has released a report with insights from their parenting support services, which suggests there has been a marked uptake in need for support on this issue. Nuala hears from Martha Hampson, Senior Policy Advisor on Early Help with Action for Children, and Dr Nikki Rutter, assistant professor in the department of sociology at Durham University and child parent violence researcher.Award-winning actor Juliet Stevenson takes the lead in a new play at the National Theatre, The Land of the Living. She plays Ruth, a UN relief worker in post-war Germany, trying to reunite children stolen by the Nazis from Eastern Europe, with their families. With one particular child it becomes a very personal mission. Juliet tells Nuala why she wanted to play this part.Presenter: Nuala McGovern Producer: Kirsty Starkey

Peaky Blinders' screenwriter Stephen Knight on his new TV series, House of Guinness.Indhu Rubasingham talks about her vision as the new Artistic Director for the National Theatre and her first production there - BacchaeArt critic Waldemar Januszczak has been to see the Turner Prize Exhibition for us, which this year is in Bradford. We find out what he makes of it. Former Booker winner Roddy Doyle on the 6 books shortlisted for this year's Booker Prize. Presenter: Samira Ahmed

Send us a textAfter graduating from RADA, James McArdle became a darling of the National Theatre appearing in landmark productions of Platonov, James I and Angels in America, all in a relatively short span of time. Since then, James McArdle has established himself as one of the most compelling actors on stage and screen. Now, he returns to the Olivier stage for the first time since 2019 for newly appointed Artistic Director Indhu Rubasingham's inaugural show: a new adaptation of Euripides' Bacchae by Nima Taleghani. In the show, James takes on the role of Pentheus in a show which has been radically revamped for modern audiences. Taleghani's version includes rap verses and a thumping beat which helps build the tension of the piece that leads viscerally into the ultimate tragedy of the piece.In this brand new interview, James McArdle reflects on his numerous successes at the National Theatre and why it feels so fitting returning to the Olivier stage after a few years away. Indeed his last National Theatre project saw him taking on the title role in Peter Gynt, a thrilling update on Ibsen's original text where audiences saw James lead a 4 hour show with immense energy. Throughout our conversation, he also pays homage to Jonathan Kent who he describes as mentor who has helped shape him into the actor he is today. In our interview, we also touched on his critically acclaimed performances in Angels in America, Platonov and The Tragedy of Macbeth at the Almeida where he shares insights into his working relationship with Saoirse Ronan and also fight director Kate Waters who he reunited with on Bacchae. It's a fascinating conversation with one of the most exciting actors on stage and screen working today and it seems there's still more that we can look forward to.Bacchae runs in the Olivier Theatre, National Theatre until Saturday 1st November 2025.Support the show

This week on Geeks Out …Just Cause REVIEW…: From London's National Theatre to Melbourne cinemas — why Inter Alia matters. Rosamund Pike's powerhouse turn as Judge Jessica Parks, balancing robe... LEARN MORE The post Inter Alia – Rosamund Pike's Stage Power …Just Cause Review… appeared first on Geeks OUT.

Nima Taleghani is best known as Mr Farouk in Netflix's Heartstopper. Now his first play - an adaptation of Euripides' Bacchae - has become the first debut play in the Olivier theatre. And it opens his director Indhu Rubasingham's first season as artistic director of the National Theatre. They talk to Sarah about making classics contemporary, rhyming verse and why theatre - like life - is best when it's a little bit cheeky and a little bit risky Hosted on Acast. See acast.com/privacy for more information.

Jason Fraley interviews actor Richard Thomas, who stars in "Mark Twain Tonight" at the National Theatre in Washington D.C. this Saturday and Sunday, inheriting the role of Mark Twain from the late Hal Holbrook. They also discuss his Emmy-winning TV career in “The Waltons,” “The Americans” and “Ozark,” as well as his Tony-nominated Broadway career in “The Little Foxes” and touring as Atticus Finch in “To Kill a Mockingbird.” (Theme Music: Scott Buckley's "Clarion")

In our weekly review show, Kirsty Wark is joined by writer and critic Hannah McGill and writer and journalist Alan Taylor to discuss What Can We Know, the latest novel from Booker Prize winning writer Ian McEwan, an epic story set in a largely underwater Britain a hundred years in the future which touches on themes including climate change and great poetry. They also give their verdicts on Frances Poet's Small Acts of Love, a musical theatre production inspired by relationships formed across the Atlantic between victims of the Lockerbie disaster in December 1988. The production - a collaboration between the Citizens Theatre in Glasgow and the National Theatre of Scotland, and with songs by Deacon Blue's Ricky Ross, is the opening production in the newly refurbished 'Citz', a theatre which has played an important role in the city and also in the careers of the likes of Rupert Everett, Glenda Jackson and Miriam Margolyes, and which has just reopened after a major revamp. They also review The Girlfriend, a new psychological thriller from Amazon Prime, which stars Robin Wright as a possessive mother whose life begins to unravel when her son brings home a new partner she suspects is not all she seems. We also bring you the latest in our series of interviews with authors shortlisted for this year's BBC National Short Story Award, Colwill Brown. Presenter: Kirsty Wark Producer: Mark Crossan

The designer discusses his work at the National Theatre’s production of ‘Inter Alia’ in London – and how to strike the balance between performer and technology onstage, including with previous collaborators David Bowie and U2. See omnystudio.com/listener for privacy information.

British OnlyFans creator Lily Phillips comes second to Bonnie Blue for her extreme sex stunts, yet she has a very different public image, as a new Stacey Dooley doc makes clear. What does this say about our notions of femininity? And is the criticism around Stacey ‘platforming' Lily fair? Also on the show: Sydney Sweeney's new romance, Molly Mae's nanny furore, our verdict on Sabrina's new album and another season of With Love, Meghan on Netflix. Enjoy hunnies!Thanks so much to our partner Official London Theatre! Get can up to 50% off theatre tickets with amazing deals on the biggest shows at OfficialLondonTheatre.com.Get 20% off our favourite ready-to-drink cocktails from Whitebox, including the best spicy margs, espresso martinis and negronis, with our code SU20 at Whiteboxcocktails.comWe love hearing from you, DM us ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@straightuppod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, email at ⁠⁠hello@straightuppodcast.co.uk⁠ and follow us on TikTok @straightuppod too!Recs/reviewsInter Alia, National Theatre (or National Theatre Live)Lilo and Stitch, Disney+ Disney's latest unnecessary remake is a monstrosity, GuardianChief of War, Apple TVThe Inheritance, C4 Stacey Dooley Sleeps Over with Lily Phillips, S6 E1, ULily Phillips: I slept with 100 men in a day, YouTubeONLYFANS: Bonnie Blue, sex stunts and the rise of the porn 'influencer' (Straight Up ep from May)Man's Best Friend, Sabrina CarpenterSabrina Carpenter to Taylor Swift: Why female pop stars embracing sex is still controversial in 2025, BBCWith Love, Meghan, Netflix. Hosted on Acast. See acast.com/privacy for more information.

Lisa McGrillis is an actor. Born in Carlisle to Irish parents, Lisa grew up surrounded by family, food, and humour - three things that still shape her life today. She studied drama in Newcastle, got her start in regional theatre, and had her London breakthrough when Lee Hall's Pitman Painters transferred to the National Theatre. Since then, she's become a familiar face on stage and screen, from Mum alongside Lesley Manville to her current role as the gloriously over-the-top Valerie in Rivals. When she's not filming in Bristol or learning lines, Lisa is at home in London with her husband, also an actor, and their two children. Food is central to her family life, a connection that runs deep thanks to her Austrian grandmother — “Big Nanny” — whose recipes still inspire Lisa's cooking today. In this episode, Claire arrives at Lisa's London home to cook one of those beloved family dishes: chicken schnitzel with Big Nanny's potato salad. Together they peel, chop, and bread the chicken while reminiscing about Lisa's roots, the chaos of raising kids, life on a busy TV set, and the joys (and nerves) of performing live theatre. There's also a well-stocked fridge to explore, some very handy kitchen gadgets courtesy of Lisa's dad, and a celebratory glass of Crémant to toast the cooking session. The result? A comforting family meal with a side of laughter, memories, and a glimpse into the real life of an actor balancing stage, screen, and supper. Learn more about your ad choices. Visit podcastchoices.com/adchoices

TEMU LAWAK 2025 adalah acara tahunan PPIA (Perhimpunan Pelajar Indonesia di Australia) Victoria, yang kali ini akan diselenggarakan pada tanggal 23 Agustus nanti di National Theatre, Carlisle Street, St Kilda VIC 3182.

As the National Theatre's production of The Importance of Being Earnest transfers to the West End with Stephen Fry taking the role of Lady Bracknell, but do older actresses lose out when men are cast in women's roles? Nikolai Foster, Artistic Director of the Leicester Curve Theatre and Nicky Clark, founder of the Acting Your Age Campaign discuss. The bestselling author of Yellowface, R.K. Kuang, discusses her new novel Katabasis.Director Daniels Evans talks about his production of Born With Teeth which sees actors Ncuti Gatwa and Edward Bluemel reimagine the relationship of Marlowe and Shakespeare.And we hear archive of the late actor Terence Stamp, one of the defining cinematic figures of his generation talking about working with Federico Fellini.Presenter: Samira Ahmed Producer: Ruth Watts

The Guilty Feminist 446. Inter AliaPresented by Deborah Frances-White with special guest Suzie MillerRecorded 10 August at the National Theatre in London. Released 18 August.The Guilty Feminist theme composed by Mark Hodge. Get Deborah's new book with 30% off using the code SIXCONVERSATIONSPOD https://store.virago.co.uk/products/six-conversations-were-scared-to-haveMore about Deborah Frances-Whitehttps://deborahfrances-white.comhttps://www.instagram.com/dfdubzhttps://www.virago.co.uk/titles/deborah-frances-white/six-conversations-were-scared-to-have/9780349015811https://www.virago.co.uk/titles/deborah-frances-white/the-guilty-feminist/9780349010120More about Suzie Miller and Inter Aliahttps://www.instagram.com/suziemillerwriterhttps://www.nationaltheatre.org.uk/productions/inter-aliahttps://interalia.ntlive.comhttps://shop.nationaltheatre.org.uk/products/inter-alia-national-theatre-2025-playtextFor more information about this and other episodes…visit https://www.guiltyfeminist.comtweet us https://www.twitter.com/guiltfempodlike our Facebook page https://www.facebook.com/guiltyfeministcheck out our Instagram https://www.instagram.com/theguiltyfeministor join our mailing list http://www.eepurl.com/bRfSPTMore Big Speeches workshops now available https://guiltyfeminist.com/big-speeches/Come to a live showEdinburgh book festival https://www.edbookfest.co.uk/the-festival/whats-on/deborah-frances-white-a-little-more-conversationVoices in Your Head at the Edinburgh Fringe https://bookings.shedinburgh.com/event/9854:24/9854:20/The Guilty Feminist at the London Podcast Festival https://www.kingsplace.co.uk/whats-on/london-podcast-festival/Thank you to our amazing Patreon supporters.To support the podcast yourself, go to https://www.patreon.com/guiltyfeminist Hosted on Acast. See acast.com/privacy for more information.

 What's up, dudes? I'm joined by Nick Bicât, the composer and arranger of the music from the 1984 movie “A Christmas Carol!” We really get into it! Find out about his compositional style  and the inspirations behind some of the musical selections and arrangements! We get it all straight from the man himself!   Nick Bicât has written over 150 scores and soundtracks for film, television, theater, festival events and concert performance. Winner of a BAFTA and twice nominated, his film and television scores include “A Christmas Carol”, “The Scarlet Pimpernel” , Wetherby, and The Reflecting Ski. He has composed for the Royal Shakespeare Company and the National Theatre, written eleven musicals and an opera The Knife, with Sir David Hare, (best musical score, 1989 New York Drama Desk Awards). Other collaborators include Tony Bicât, Edward Bond, Adrian Mitchell Howard Brenton and Ted Hughes. Subsequently, he has composed songs for Deniece Williams and P.J. Harvey. His song Who Will Love Me Now?, sung by P.J. Harvey, was BBC Radio 1 top film song for 1998. Albums include Under the Eye of Heaven (Virgin Classics), with the London Chamber Orchestra. A choral work Beslan/Requiem, recorded by Andrew Parrott and the Taverner Consort, was released in 2014, and has been performed several times, recently at St George's, Bristol by the Exultate Choir. His latest work Akathistos,  a processional cantata on the Siege of Constantinople of 626 AD, was premiered at St. Stephen Walbrook, London in January 2020. Catchy carols? Check. Spooky sonorities? Got ‘em. Tipsy choirs? Better grab some brandy! So grab your staff paper, put on the album, and visit the past with this episode! Give us a buzz! Send a text, dudes!Check us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

Sam Sedgman discusses with Ivan six things which should be better known. Sam Sedgman is a bestselling children's author, confirmed nerd and enthusiastic ferroequinologist. Co-creator of the award-winning 'Adventures on Trains' and 'Isaac Turner Investigates' series, he writes fact-based mystery and adventure stories for the young and young at heart. Before writing stories for children, Sam worked as a digital producer at the National Theatre, which meant nosing around backstage with a camera and a microphone, cajoling theatre makers into explaining how stories get made. Forever interested in piecing things together, Sam is a lifelong fan of puzzles, games and detective fiction, and once founded a company making murder mystery treasure hunts for adventurous Londoners. His books have been translated into more than 20 languages. When he isn't writing, Sam can usually be found admiring a handsome timepiece, watching Alfred Hitchcock movies, or explaining some weird fact to you. He lives in London, on top of a railway station. You can find out more at https://samsedgman.com/. The decimalisation of time in the French Revolution https://mathshistory.st-andrews.ac.uk/HistTopics/Decimal_time/ Italians having a twelfth cardinal colour, Azzurro https://www.thoughtco.com/azzurro-2011518 The 1997 action movie The Peacemaker https://them0vieblog.com/2012/07/03/non-review-review-the-peacemaker/ Why Australia has so many camels https://eu.desertsun.com/story/life/home-garden/james-cornett/2017/01/27/many-camels-australian-desert/96999820/ The surprising impermanence of burial plots https://bannocksmemorials.co.uk/8-facts-about-graves-memorials-you-didnt-know-before-today/ Montreal's snow management system https://www.cbc.ca/news/canada/montreal/how-montreal-takes-300-000-truckloads-of-snow-off-the-street-every-winter-1.5023619 This podcast is powered by ZenCast.fm

Now for the next in our regular slots here on RNIB Connect Radio highlighting what is on offer at the National Theatre in London for blind and partially sighted people with audio description. RNIB Connect Radio's Toby Davey was joined again by David Bellwood, Head of Access at the National Theatre to chat about a few up-coming audio described shows at the NT and a couple that are available online with audio description via National Theatre at Home. Audio described performances included:  Inter Alia' - Saturday 23 August 2.30pm, touch tour at 12.30pm and Friday 12 September 7.30pm, touch tour 5.30pm, National Theatre's Lyttelton Theatre Bacchae - Saturday 4 October 2.30pm, touch tour 12.30pm and Friday 24 October 7.30pm, touch tour 5.30pm, National Theatre's Olivier Theatre Till the Stars Come Down - Wednesday 10 September, 7.30pm, Theatre Royal Haymarket, London Dear England on tour from 15 September From National Theatre at Home with audio description David recommended ‘A Tupperware of Ashes' and ‘Mosquitos'. To find out more about the National Theatre's audio description offer and services for blind and partially sighted people do either call the NT on 020 7452 3961 or visit the NT website - https://www.nationaltheatre.org.uk And for more about National Theatre at Home and to view many theatre productions online with audio description do visit - https://www.ntathome.com (Image shows National Theatre logo, A capital N and T in black against a white background)

In ep 133 of “How Do You Say That?!” sponsored by britishvoiceover.co.uk, Anthony Shuster joins Sam and Mark to talk about that thing we hear all the time on TikTok, Instagram and YouTube... the influencer read! We deal with intonation that includes plane coming into land, shopping list, upspeak and de-voicing with vocal fry to learn how to nail this trend we hear more and more.It sparks quite a discussion - but love it or loathe it - we ask the question, could it be useful for your voiceover career?Get involved! Have you got a Wildcard suggestion that we should try or an idea for the show? Send it to us via Mark or Sam's social media or email it directly to podcast@britishvoiceover.co.ukScript 1How many fairy tales do you recognise here? And why do they all seem to take place in the Middle Ages? Figures like Puss in Boots and Humpty Dumpty are not just recognisable, they are reused and reimagined in contemporary films like Shrek. Look for other familiar characters: Little Red Riding Hood conversing with a wolf, Robin Hood crossing a river, Jack and the beanstalk, and Old Mother Goose soaring in the skies—these and others continue to shape our collective imagination.Script 2I've been doing therapy on and off for about a decade now and I must say it can be very hard finding a therapist that you click with, let alone someone with an open schedule in general. Whether it's dealing with that initial search, location, or connecting with a therapist, doing all of that work only to find out that you don't vibe with that person can be incredibly discouraging. I'd suggest getting your feet wet with therapy through GoodEar in order to start healing the things that shouldn't have any power over you.We'd love your feedback - and if you listen on Apple Podcasts or Spotify, hit the follow button today!**Listen to all of our podcasts here - you can also watch on YouTube, or say to your smart speaker "Play How Do You Say That?!"About our guest: Anthony is a voice actor and coach with extensive experience of working with actors, non actors and professional performers. He read English at the University of Oxford, where he specialised in Linguistics, and went on to train in voice, diction and accents at the Royal Academy of Dramatic Art (*RADA)As an actor he has worked extensively in theatre, TV and radio, with companies including the National Theatre, the Royal Shakespeare Company, the BBC and Channel 4.As a voiceover coach he works with experienced and aspiring professional artistes through Gravy for the Brain and Richcraft. Anthony 's Website @realanthonyshuster on Instagram Anthony on YouTubeResources: Click here for the Wildcard Generator and don't forget to think of an action your character can be doing!Mark's demos & contact details:

A special edition of the programme recorded in front of an audience at the Edinburgh Festivals earlier this week. Emmy and Olivier Award-winning actor Brian Cox discusses his role as the ghost of economist Adam Smith in James Graham's satirical play Make It Happen. The National Theatre of Scotland production at the Edinburgh International Festival chronicles the rise and downfall (in 2008) of the world's biggest bank, The Royal Bank of Scotland, and also features an actor playing the role of the bank's former chief executive, Fred Goodwin, and an onstage chorus. We're joined by Zainab Johnson - a black female Muslim comedian from Harlem whose show Toxically Optimistic is her debut at the Edinburgh Festival Fringe and by comedian, Taskmaster star and the voice of Netflix's Too Hot to Handle Desiree Burch, whose show The Golden Wrath tackles themes including death, menopause, spirituality and nationality. Plus music from leading trumpeter Jay Phelps, whose show Miles at the Fringe reflects on the legacy of the bestselling jazz album of all time, Kind of Blue by Miles Davis, and from The Bengsons, an Obie-winning husband and wife indie folk duo whose production Ohio is a celebratory true story about losing faith and finding hope in the darkest of places and is produced by the team behind Fleabag and Baby Reindeer. Presenter: Kirsty Wark Producer: Mark Crossan

Need some holiday listening this Summer?!Here's your chance to listen back to some of the great guests that have joined The Chris Evans Breakfast Show with The National Lottery.Actual Hollywood superstar Arnold Schwarzenegger joined us in 2023 to share his rules for life from his book: Be Useful: Seven Tools For Life.And Modern Family star Jesse Tyler Ferguson popped by in May spilling the beans on starring in Here We Are, on now at The National Theatre.Chris and the Class Behind The Glass are back on Monday morning from 6.30am, listen on your smart speaker just say "Play Virgin Radio!" Hosted on Acast. See acast.com/privacy for more information.

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next of his regular audio described theatre reviews for 2025 This week we have an extraordinary journey from the fields of rural Devon to the trenches of First World War France for young Albert's beloved horse Joey as the current tour of the National Theatre's acclaimed production of War Horse visited the Alexandra Theatre in Birmingham with description by Professional Audio Describer Theo Hornsby-Walsh. About ‘War Horse' The National Theatre's acclaimed production is now on a major UK & Ireland Tour.  War Horse is an unforgettable theatrical experience which takes audiences on an extraordinary journey from the fields of rural Devon to the trenches of First World War France. Based on the beloved novel by Michael Morpurgo, this powerfully moving and imaginative drama, filled with stirring music and songs, is a show of phenomenal inventiveness. At its heart are astonishing life-sized horses by South Africa's Handspring Puppet Company, who bring breathing, galloping, charging horses to thrilling life on stage. At the outbreak of World War One, Joey, young Albert's beloved horse, is sold to the Cavalry and shipped to France. He's soon caught up in enemy fire, and fate takes him on an extraordinary journey, serving on both sides before finding himself alone in No Man's Land. Albert, who remained on his parents' Devon farm, cannot forget Joey. Though still not old enough to enlist, he embarks on a treacherous mission to find Joey and bring him home. For more about the current UK and Ireland tour of ‘War Horse' including details of dates and times of performances near you do visit the production website - https://www.warhorseonstage.com (Image shows the RNIB Connect Radio logo. On a white background ‘RNIB' written in bold black capital letters and underline with a bold pink line. Underneath the line: ‘Connect Radio' is written in black in a smaller font)

Last week, Mickey-Jo headed to the National Theatre in London to see one of this year's most anticipated new productions - Inter Alia starring Rosamund Pike.From the team that brought West End and Broadway audiences PRIMA FACIE (playwright Suzie Miller and director Justin Martin) comes this new collaboration depicting a judge trying to balance her important and demanding work within the legal system with an increasingly strenuous home life as a wife and mother. As it progresses, the play poses challenging moral questions as these two key aspects of our protagonist's identity are forced into conflict.Check out the full review for Mickey-Jo's thoughts on this play, and to find out why he had such a strong emotional reaction to it...• 00:00 | introduction01:38 | context / overview07:50 | performance / impact12:29 | the writing (spoilers)18:03 | direction (spoilers)23:21 | highlight (spoilers)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.

Has our perception of what it is to be patriotic been skewed by the likes of angry protesters parading outside a refugee hotel in Essex? And can the idea of patriotism ever be reclaimed from furious far-right groups like Britain First? Plus, what's the latest on the Brexit reset with the EU? Director of UK in a Changing Europe Anand Menon joins the panel to discuss. And in the Extra Bit for subscribers, we're wondering if we'll EVER be able to retire. Escape Routes: • Ros recommends Inter Alia at the National Theatre. • Matt has been watching Yellowstone on Netflix.  • Hannah recommends Lush by Rochelle Dowden-Lord.  • Anand recommends Caledonian Road by Andrew O'Hagan.  Buy Lush or Caledonian Road through our affiliate bookshop and you'll help fund Oh God, What Now? by earning us a small commission for every sale. Bookshop.org's fees help support independent bookshops too. Follow us on BlueSky Back us on Patreon: www.patreon.com/ohgodwhatnow Presented by Ros Taylor with Hannah Fearn, and Matt Green. Audio Production by Tom Taylor & Robin Leeburn. Music by Cornershop. Group Editor: Andrew Harrison. Managing Editor: Jacob Jarvis. OH GOD, WHAT NOW? is a Podmasters production. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jason Fraley celebrates “Harry Potter and the Cursed Child” at National Theatre in Washington D.C. now through Sept. 7th. He spoke with actor John Skelley, who understudied the part of Harry Potter on Broadway before taking over the role on the national tour. (Theme Music: Scott Buckley's "Clarion")

Episode 099: Till the Stars Come Down by Beth Steel Host: Douglas Schatz Guest: Beth Steel Welcome to The Play Podcast where we explore the greatest new and classic plays. Each episode we choose a single play to talk about in depth with our expert guest. We'll discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. It is Sylvia and Marek's wedding day. But this is not an entirely traditional English wedding, because unlike her older sisters, Sylvia's husband-to-be is not a local man; Marek is a Polish immigrant. As the festivities unfold, fuelled by beer and vodka, emotions run high, and fault lines appear within the family that will change their lives forever. Beth Steel's Till the Stars Come Down, is an hilarious and heartbreaking family drama, as well as a richly layered exploration of the social and economic landscape of the country they live in. Till the Stars Come Down premiered to great acclaim at the National Theatre in January 2024, and as we record this episode is back on stage at the Theatre Royal Haymarket in London's West End. I'm delighted to be joined by the play's author, Beth Steel.

'The Diplomat' and ‘No Time To Die' star Rory Kinnear joins the show. Over lamb and English asparagus, Rory reflects on losing his father Roy Kinnear at a young age, and how he keeps his memory alive for his own children. He shares stories about his bond with Dame Judi Dench, honoring his late sister, and joining the 'Lord of the Rings' universe. This episode was recorded at Lasdun at the National Theatre on London's South Bank. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The government wants to lower the age of voting to 16. Does anyone really know why? Do most 16-year-olds even care about politics? And will it make even a shred of difference to election outcomes? Plus, Donald Trump's Jeffrey Epstein meltdown continues. He's now suing Rupert Murdoch over an article published by the Wall Street Journal last week linking him to the disgraced financier. How damaging is this for the US president? And finally, with more suspensions than the Humber Bridge, has the Labour Party become addicted to heavy-handedness? Escape Routes: • Andrew went to see all-female Slade tribute band Slady • Seth recommends Doctor Who: Warriors' Gate And Beyond by Stephen Gallagher • Jonn went to see Nye at the National Theatre.  • Marie recommends Model Behaviour by Jay McInerney. www.patreon.com/ohgodwhatnow Presented by Andrew Harrison with Jonn Elledge, Marie Le Conte and Seth Thévoz. Audio Production by: Robin Leeburn. Group Editor: Andrew Harrison. Managing Editor: Jacob Jarvis. OH GOD, WHAT NOW? is a Podmasters production. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Keir Starmer suspended 4 ‘persistent rebels' on Wednesday. Clive Lewis was not on that list, despite his many disagreements with his party, but he is on our podcast this week. We sat down with the MP for Norwich South to discuss those suspensions, why Labour's not delivering on its promise for ‘change', and why the UK should move back closer to Europe. Plus, campaign group More in Common's latest study categorises the electorate into seven groups. Is it useful? And who are these types of studies really for? And in the Extra Bit for subscribers – is there an argument FOR air con?  Escape routes: • Clive Lewis recommends Andor on via Disney Plus • Zoë recommends Dept Q on Netflix.  • Matt watched England vs India in the cricket. The 4th test is available to watch on Sky Sports from July 23rd • Dorian recommends Nye at the National Theatre. www.patreon.com/ohgodwhatnow Presented by Dorian Lynskey with Zoë Grünewald and Matt Green. Audio Production by: Tom Taylor and Robin Leeburn. Video Production by: Chris Jones. Group Editor: Andrew Harrison. Managing Editor: Jacob Jarvis. OH GOD, WHAT NOW? is a Podmasters production. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Last week, Mickey-Jo had the joy of attending the opening night performance of TILL THE STARS COME DOWN at the Theatre Royal, Haymarket in London.The new play from Beth Steel, which was first produced at the National Theatre, has transferred into the West End amidst considerable acclaimed and takes place over the day of an increasingly frantic wedding.Check out Mickey-Jo's full review to find out what he thought of the show, its cultural accessibility, and the onstage seating!• 00:00 | introduction02:02 | synopsis (spoiler free)05:43 | themes (spoiler free)11:32 | writing15:18 | ongoing overview (spoilers)23:16 | performances (spoilers)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.

We're ringing in another year on the pod with our 350TH EPISODE!! In 2006, Broadway imported the National Theatre production of Alan Bennett's The History Boys, an ensemble piece following a group of college hopeful students and their philosophically opposed teachers. The Broadway production became a Tony record-making sensation. However, prior to the transfer, the … Continue reading "350 – The History Boys"

In this episode of THE BEST OF LIGHT TALK, the Lumen Brothers and Sister welcome lighting designer Paule Constable to the show.   Join Paule, Anne, Steve, and David, as they discuss: The challenges to having a career and a family, Paule taking her flatmate's followspot job, The continuing fight for gender equality in the lighting industry, Superman's telephone box, Renewing your spirit, The hubris of youth, Being the first woman who lit a show at the National Theatre, Being bold and asking for jobs, Embracing Complexity and Risk, Unconscious sexism, Gender balanced production teams, Being involved early in the process, What is the light doing in the room?, Articulating space with light, The intimacy of WarHorse, Our responsibility for sustainability in the arts, Fiddling while Rome burns, Time for zero-carbon festivals, and Don't use light for light's sake.   Nothing is Taboo, Nothing is Sacred, and Very Little Makes Sense.

Laura McAllister is the Vice-President of UEFA. During her own football career Laura was the captain of Wales' women's team, gaining 24 caps for her country. Wales have qualified for this year's Euros for the first time and will play their debut match tomorrow, as will England who are defending their title after winning at Wembley in 2022. Laura joins Datshiane Navanayagam ahead of those first games. Award-winning playwright Beth Steel tells Datshiane how her working-class, northern roots inspire her hit play Till The Stars Come Down. Set at the wedding of Sylvia and Marek - the vodka flows and dances are shared, passions boil over and the limits of love are tested. She becomes the fifth female playwright to transfer from the National Theatre to the West End.The film director Gurinder Chadha has released a trailer to celebrate this summer's cricket fixtures between England and India's women's teams. She joins Datshiane to discuss why she's chosen to put women's cricket under the spotlight and the legacy of her last hit film about women's sport, Bend It Like Beckham. The musical icon Angélique Kidjo has become the first black African performer to be selected for a star on the prestigious Hollywood Walk of Fame. Kidjo, who comes from the West African country of Benin, and has won five Grammy awards, was among the 35 names announced as part of the Walk of Fame's class of 2026 list. Music journalist Kate Hutchinson tells us more. Presenter: Datshiane Navanayagam Producer: Corinna Jones

On this week's show, Steve, Julia, and guest host Sam Adams are off to races with F1:The Movie, the new Brad Pitt racing vehicle featuring lots of racing vehicles. Is the thrill ride more than the sum of its sports movie cliches, high-octane action sequences, and perpetually handsome movie-star? Does the answer even matter? Next, they're joined by Slate senior supervising producer Daisy Rosario to decode the particularly British charms of Taskmaster, the UK panel/game-show now in its 19th season. Finally, what's more fun to pick apart than a best of list? Dana Stevens hops in to dissect the New York Times's 100 Best Movies of the 21st Century interactive feature. In an exclusive Plus bonus episode, the topic is: sex! Specifically, the hosts discuss the status—and seeming decline—of sex in Hollywood movies.  Endorsements: Sam: Drinking the anise-flavored aperitif pastis, the French brand Henri Bardouin is a good one to try. Julia: The delicious Los Angeles restaurant Tomat in the most unlikely of locales: a strip mall by LAX International Airport. Steve: The album Cunningham Bird by Andrew Bird and Madison Cunningham and the song Sara by Fleetwood Mac. Dana: The production of Shakespeare's As You Like It available to stream on National Theatre at Home. Our Panelist's Top Ten(ish) Movies of the 21st Century: Dana: 4 Months, 3 Weeks, 2 Days The Act of Killing Atanarjuat (The Fast Runner) Bright Star Children of Men Grizzly Man Parasite Portrait of a Lady on Fire Moonlight There Will Be Blood Julia: I'm Still Here Mean Girls Get Out Do Not Expect Too Much from the End of the World Crouching Tiger, Hidden Dragon Zombieland Once Upon a Time… in Hollywood Erin Brockovich The Act of Killing Portrait of a Lady on Fire Sam: In the Mood for Love The Act of Killing The Grand Budapest Hotel The Gleaners and I Eternal Sunshine of the Spotless Mind A Serious Man It's Such a Beautiful Day The New World Hedwig and the Angry Inch The Death of Stalin Stephen: Anora Spotlight Toni Erdmann The Lives of Others Paddington 2 Meyerowitz Stories Spirited Away Get Out There Will Be Blood Mulholland Drive Parasite A Separation Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Steve, Julia, and guest host Sam Adams are off to races with F1:The Movie, the new Brad Pitt racing vehicle featuring lots of racing vehicles. Is the thrill ride more than the sum of its sports movie cliches, high-octane action sequences, and perpetually handsome movie-star? Does the answer even matter? Next, they're joined by Slate senior supervising producer Daisy Rosario to decode the particularly British charms of Taskmaster, the UK panel/game-show now in its 19th season. Finally, what's more fun to pick apart than a best of list? Dana Stevens hops in to dissect the New York Times's 100 Best Movies of the 21st Century interactive feature. In an exclusive Plus bonus episode, the topic is: sex! Specifically, the hosts discuss the status—and seeming decline—of sex in Hollywood movies.  Endorsements: Sam: Drinking the anise-flavored aperitif pastis, the French brand Henri Bardouin is a good one to try. Julia: The delicious Los Angeles restaurant Tomat in the most unlikely of locales: a strip mall by LAX International Airport. Steve: The album Cunningham Bird by Andrew Bird and Madison Cunningham and the song Sara by Fleetwood Mac. Dana: The production of Shakespeare's As You Like It available to stream on National Theatre at Home. Our Panelist's Top Ten(ish) Movies of the 21st Century: Dana: 4 Months, 3 Weeks, 2 Days The Act of Killing Atanarjuat (The Fast Runner) Bright Star Children of Men Grizzly Man Parasite Portrait of a Lady on Fire Moonlight There Will Be Blood Julia: I'm Still Here Mean Girls Get Out Do Not Expect Too Much from the End of the World Crouching Tiger, Hidden Dragon Zombieland Once Upon a Time… in Hollywood Erin Brockovich The Act of Killing Portrait of a Lady on Fire Sam: In the Mood for Love The Act of Killing The Grand Budapest Hotel The Gleaners and I Eternal Sunshine of the Spotless Mind A Serious Man It's Such a Beautiful Day The New World Hedwig and the Angry Inch The Death of Stalin Stephen: Anora Spotlight Toni Erdmann The Lives of Others Paddington 2 Meyerowitz Stories Spirited Away Get Out There Will Be Blood Mulholland Drive Parasite A Separation Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's show, two examples of where we've been and new life for an old theatre facade. We highlight the Marrow project underway in Eastern Market, Detroit Perk in Dearborn Heights, and how the facade of the historic National Theatre will go on a new Market Hall near Campus Martius in Detroit, just feet from its original location. Show notes to come Feedback as always - dailydetroit -at- gmail -dot- com or leave a voicemail 313-789-3211.  Follow Daily Detroit on Apple Podcasts: https://podcasts.apple.com/us/podcast/daily-detroit/id1220563942 Or sign up for our newsletter: https://www.dailydetroit.com/newsletter/  

This week I welcomed singer songwriter Cammy Barnes to Up Next Studios to chat about his incredible career to date! From touring the world with the Red Hot Chilli Pipers and National Theatre of Scotland to carving out a hugely successful solo career, Cammy's innate talent and unwavering work ethic have seen him continue to soar as he pursues his passion for sharing his music with live audiences. Follow Cammy: TikTok https://www.tiktok.com/@iamcammybarnes?_t=ZN-8xV2jTau3SY&_r=1 Instagram: https://www.instagram.com/iamcammybarnes?igsh=bzZ3eXJ0ZmI1ZHFy Follow The Braw and The Brave Website: https://www.thebrawandthebrave.com/ YouTube: https://www.youtube.com/@TheBrawandTheBrave TikTok: https://www.tiktok.com/@thebrawandthebrave Instagram: https://www.instagram.com/thebrawandthebravepodcast/ Facebook: https://www.facebook.com/TheBrawandTheBrave

Season 5, Episode 7 of the International Women's Podcast Award-winning Podcast - (how many times is it ok to say the word podcast in one sentence?! ) When Susie's banging on about signing up to our newsletter, just click here and she'll stop.... SIGN UP HERE! (You know she'll never stop, right?!) Joyful episode 7 is a celebration of the theatre.  Our guest is LIZ WHITE, one of the UK's most compelling and versatile actresses, currently starring in the Olivier award-winning National Theatre production of DEAR ENGLAND. Liz rose to prominence in the iconic BBC drama Life on Mars, and has since captivated audiences with her roles in Ackley Bridge, The Woman in Black, Our Zoo, Call the Midwife, and Unforgotten—among many others. A seasoned performer across television, film, and theatre, Liz brings emotional intelligence and authenticity to every role. We talk to Liz about her love of independent film, her enduring passion for the work, and how having the courage to create her own opportunities early on proved to be a transformative moment in her career. It's a treat of a conversation and we're thrilled she could join us before heading to the National Theatre for a performance of Dear England. Also in this ep, there are matinee and evening sketches and a welcome return of A QUIZ. So dust off your copy of the Complete Works of Shakespeare, do your vocal and physical warm-ups and let's raise the curtain! Enjoy! Limited Time Only – a pick-me-up in podcast form. If you enjoy the show, please follow or subscribe wherever you get your podcasts, leave us a quick review, and share this episode with someone who could use a pick-me-up. Instagram @limitedtimeonlypodcast Facebook Limited Time Only Podcast Email: limitedtimepodcast@gmail.com   LTO is created & written by, produced, edited & hosted by: SUSIE RIDDELL & ESTHER STANFORD It is a Limited Time Only Production   LOGO designed by: IAN STANFORD THEME TUNE composed by: JOEL WHITE ADDITIONAL SOUND: https://freesound.org Applause 27 seconds, Audience c. 200. Large Hall. by iainmccurdy -- https://freesound.org/s/681093/ -- License: Attribution 4.0      

'Raising Hope' star Martha Plimpton joins the show. Over pork chops and braised beans, Martha looks back at the 1985 classic ‘The Goonies,' why she feels embraced in London more than Hollywood, and she reflects on her special relationship with the late River Phoenix. This episode was recorded at Forza Wine at The National Theatre in London's South Bank. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jason Fraley gets ready for National Theatre to stage “Ain't Too Proud: The Life & Times of The Temptations” tomorrow through June 22nd in Washington D.C. He spoke with Tony nominee Jeremy Pope when the show made its East Coast premiere at the Kennedy Center in 2018 before moving to Broadway where it earned 12 Tony nominations, including Best Featured Actor in a Musical for Pope. (Theme Music: Scott Buckley's "Clarion")

On this week's episode of Local Legends, the very last episode of Series 6, Martin is joined around the campfire by award-winning storyteller, performer, author, poet, lyricist, and very nice man, Hugh Lupton!Hugh's career spans over 40 years, both in terms of his solo projects and his partnerships with other artists, writers, musicians, illustrators and performers.As we discussed on Monday's episode, there is a sense in which Hugh is the golden thread that binds together modern British storytelling and several folk traditions, with his glimmer and shine helping to guide the oral tradition into the 21st century.He has, of course, toured both nationally and internationally, and has performed at the RSC, the National Theatre, and the Barbican. His repertoire ranges from Greek epics to the Grimms Fairy Tales, from Norse and Celtic myth to East Anglian folk-tales, and from the Great War to John Clare.Plus, in addition to his award-winning songwriting work, he has also written several excellent books, including Norfolk Folk Tales. You can learn more about Hugh and his work on his website, https://hughlupton.co.uk/, and do check the Diary section - he gets about, so do try to go and see him!For now though, let's gather in close around the Three Ravens campfire, have a sip of whatever's in your nut brown bowl, and listen in, to a chat about the life and work of perhaps the most influential storyteller alive today, the county of Norfolk, and tales such as the Peddlar of Swaffham, Black Shuck, those of fenland folk hero Tom Hickathrift, and so much more, with a true Local Legend: Hugh Lupton!Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon, too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcast Hosted on Acast. See acast.com/privacy for more information.

Friends - it is our 100th episode!We are so pleased to be here with you, sharing, listening, celebrating.We have a very special conversation to mark the occasion: our very own Michael Shaeffer, host of The Poetry Exchange, talks about the poem that has been a friend to him - 'Having a Coke with You' by Frank O'Hara.10 years...100 episodes...countless more poems, stories, converastions...and now Michael shares his story of connection with O'Hara's gorgeous poem.We're thrilled and immensely grateful to Michael for sitting 'in the other chair' for this one, and sharing the story of his friendship so openly. You'll hear Michael in conversation with Roy McFarlane and Andrea Witzke Slot. Our thanks to the Alfred A. Knopf and the Frank O'Hara estate for allowing us to share the poem with you, and to the South London Gallery for hosting the conversation.Michael talks about his appearance in the re-staging of London Road at the National Theatre, which runs 7th - 21st June. Get your tickets while you can if you're in or around London during this time!As Michael says in this episode, we will be taking a pause from the podcast for a while after this episode, having reached this extraordinary milestone. Michael will also be stepping back from hosting at this point, having co-hosted The Poetry Exchange with Fiona since the very beginning.What an enormous journey it has been for Michael, for us all, and we are so grateful for all your friendship and support along the way.The Poetry Exchange is continuing, and for now we will be focussing on some new collaborations that create live, intimate encounters between people and poems....something that has always been at the heart of The Poetry Exchange.Keep in touch with us to find out more about as these new adventures as they unfold, including ways of being involved. You can sign up to our mailing list at www.thepoetryexchange.co.uk, follow us on Instagram @PoetryExch, or drop us a line any time on hello@thepoetryexchange.co.uk.For now, thank you so much for being with us over the years...for all your love, support and companionship. Here's to living life filled with poems as friends.Thank you for listening,Michael, John and The Poetry Exchange Xx Hosted on Acast. See acast.com/privacy for more information.

We're finally doing this! Jon is so excited and cannot shut up about the 2011 Broadway revival he saw even though we're here to talk about the 2017 West End revival. And of course Aaron has thoughts.Aaron's Socials: @trueaaronchoiAaron's Twitch: @truechoistoryPodcast Socials -Email: butasongpod@gmail.comFacebook: @butasongpodInstagram: @butasongpodThreads: @butasongpodNext episode: Weird: The Al Yankovic Story!

Jason Fraley marks the 75th anniversary of Lucille Ball and Desi Arnaz taking their vaudeville act on the road in Chicago then New York City, inspiring CBS to give them their own sitcom with “I Love Lucy.” Jason interviewed their daughter Lucie Arnaz when she toured with “Pippin” at the National Theatre in Washington D.C. in 2014. Don't miss their other chat about the best “I Love Lucy” episodes in our archives at ⁠BeyondTheFamePodcast.com⁠. (Theme Music: Scott Buckley's "Clarion")