Podcasts about The Old Vic

Bradley Whitford, a classically trained stage actor, gained fame as “Josh Lyman,” on NBC's 'The West Wing,' which earned him his first Emmy award in 2001. He went on to win Emmys in 2015 and 2019 for his work in 'Transparent' and 'The Handmaid's Tale' and is grateful to have had the opportunity last year to direct the show's fifth season penultimate episode, “Allegiance.” He is currently filming “The Diplomat” alongside his West Wing co- star, Allison Janney. Whitford appeared in AMC's limited series 'Parish' alongside Giancarlo Esposito, a drama about a taxi driver whose life is upended after picking up a Zimbabwean gangster. He also starred in the independent film 'I'll Be Right' There with Edie Falco and completed work on Netflix's limited series 'The Madness,' opposite Colman Domingo. He is also known for his work in the Oscar-nominated films 'Get Out,' 'The Post,' 'Scent of a Woman,' and Lin-Manuel Miranda's 'tick, tick… BOOM!' Whitford also produced the documentary, 'Not Going Quietly,' about the life of progressive activist Ady Barkan. Other notable film credits include Warner Bros' 'Godzilla: King of the Monsters,' Disney's 'Saving Mr. Banks,' and HBO's Lyndon B. Johnson biopic, 'All The Way,' among many others.  TV credits include Apple TV+'s 'Echo 3,' NBC's 'Perfect Harmony,' which he executive produced and starred in; FOX/Netflix's 'Brookline Nine-Nine,' Showtime's 'Happy-ish,' ABC's 'Trophy Wife,' CBS' 'The Mentalist,' FOX's 'The Good Guys,' and NBC's 'Studio 60 on the Sunset Strip,' among others. Growing up in Wisconsin, Whitford studied theater and English literature at Wesleyan University and attended the Juilliard Theater Center. He has appeared on Broadway in Aaron Sorkin's 'A Few Good Men' and in 'Boeing, Boeing' with Mark Rylance. Off-Broadway credits include 'Curse of the Starving Class,' 'Measure for Measure' at Lincoln Center, and 'Three Days of Rain' at Manhattan Theatre Club. Regional credits include the title role in 'Coriolanus' at the Folger Shakespeare Theatre in Washington, D.C., and Oberon and Theseus in 'A Midsummer Night's Dream' at Hartford Stage. In 2021, Whitford starred in the Old Vic's production of 'A Christmas Carol' at the Ahmanson in Los Angeles as “Ebenezer Scrooge.” Also at the Ahmanson, in 2023, Whitford recently played the scene-stealing “Narrator” in the hit farce 'Peter Pan Goes Wrong.' Learn more about your ad choices. Visit podcastchoices.com/adchoices

Alice looks at new press reports which claim ultra-processed foods may be driving an increase in bowel cancer in the under-50s. Meanwhile, Mike shouts into a microphone and Marsh goes to the Old Vic to watch Tom Stoppard's Arcadia.Sign up for the Skeptics with a K Patreon at https://patreon.com/skepticswithak, or to support Merseyside Skeptics as well as the podcast, donate at https://patreon.com/merseyskeptics.You can also chat with us on the Skeptics in the Pub Discord server.Mixed and edited by Morgan Clarke.

You know his face and have felt his presence. Israeli-born Oded Fehr studied acting at the Old Vic in London and first made a vivid impression on movie audiences in The Mummy andThe Mummy Returns. Since then he has dodged stereotype casting, agreeing to play a terrorist in the TV series Sleeper Cell because it was a three-dimensional character. He then forged a new path in Star Trek: Discovery and Starfleet Academy. He is a charming, well-spoken man who belies the villainous image that gave him his first opportunities on screen. You can see his latest feature film, Grizzly Night, on Video on Demand.  

Gyles has been an admirer of this guest since the 1960s: it's the great actor, Sir Derek Jacobi. Ever since he was recruited into Sir Laurence Olivier's bold new National Theatre at the Old Vic, Jacobi has been at the forefront of British acting talent. Gyles has seen him on stage many times - in Olivier's famous production of Othello, in Much Ado About Nothing, in Cyrano de Bergerac. You may also know Derek from his brilliant TV work - in I, Claudius and Last Tango in Halifax... he's also the voice of In The Night Garden. In this warm and rambling conversation, Derek tells Gyles about his young life in Leytonstone in East London, where his father owned a confectioners shop. He tells him about his childhood love of dressing up and his early exposure to theatre, when he was picked to go up on stage at the Palladium. He tells Gyles about his experience of stage fright and about his happy marriage. This is a wonderful episode with a great, and charming, man. Enjoy this. Hosted on Acast. See acast.com/privacy for more information.

Hermione Lee is the renowned biographer of Virginia Woolf, Edith Wharton, Penelope Fitzgerald, and, most recently, Tom Stoppard. Stoppard died at the end of last year, so Hermione and I talked about the influence of Shaw and Eliot and Coward on his work, the recent production of The Invention of Love, the role of ideas in Stoppard's writing, his writing process, rehearsals, revivals, movies. We also talked about John Carey, Brian Moore, Virginia Woolf as a critic. Hermione is Emeritus Professor of English Literature at the University of Oxford. Her life of Anita Brookner will be released in September.TranscriptHenry Oliver: Today I have the great pleasure of talking to Professor Dame Hermione Lee. Hermione was the first woman to be appointed Goldsmiths' Professor of English Literature at the University of Oxford, and she is the most renowned and admired living English biographer. She wrote a seminal life of Virginia Woolf. She's written splendid books about people like Willa Cather, Edith Wharton, and my own favorite, Penelope Fitzgerald. And most recently she has been the biographer of Tom Stoppard, and I believe this year she has a new book coming out about Anita Brookner. Hermione, welcome.Hermione Lee: Thank you very much.Oliver: We're mostly going to talk about Tom Stoppard because he, sadly, just died. But I might have a few questions about your broader career at the end. So tell me first how Shavian is Stoppard's work?Lee: He would reply “very close Shavian,” when asked that question. I think there are similarities. There are obviously similarities in the delighting forceful intellectual play, and you see that very much in Jumpers where after all the central character is a philosopher, a bit of a bonkers philosopher, but still a very rational one.And you see it in someone like Henry, the playwright in The Real Thing, who always has an answer to every argument. He may be quite wrong, but he is full of the sort of zest of argument, the passion for argument. And I think that kind of delight in making things intellectually clear and the pleasure in argument is very Shavian.Where I think they differ and where I think is really more like Chekov, or more like Beckett or more in his early work, the dialogues in T. S. Elliot, and less like Shaw is in a kind of underlying strangeness or melancholy or sense of fate or sense of mortality that rings through almost all the plays, even the very, very funny ones. And I don't think I find that in Shaw. My prime reading time for Shaw was between 15 and 19, when I thought that Shaw was the most brilliant grownup that one could possibly be listening to, and I think now I feel less impressed by him and a bit more impatient with him.And I also think that Shaw is much more in the business of resolving moral dilemmas. So in something like Arms and the Man or Man and Superman, you will get a kind of resolution, you will get a sort of sense of this is what we're meant to be agreeing with.Whereas I think quite often one of the fascinating things about Stoppard is the way that he will give all sides of the question; he will embody all sides of the question. And I think his alter ego there is not Shaw, but the character of Turgenev in The Coast of Utopia, who is constantly being nagged by his radical political friends to make his mind up and to have a point of view and come down on one side or the other. And Turgenev says, I take every point of view.Oliver: I must confess, I find The Coast of Utopia a little dull compared to Stoppard's other work.Lee: It's long. Yes. I don't find it dull. But I think it may be a play to read possibly more than a play to see now. And you're never going to get it put on again anyway because the cast is too big. And who's going to put on a nine-hour free play, 50 people cast about 19th-century Russian revolutionaries? Nobody, I would think.But I find it very absorbing actually. And partly because I'm so interested in Isaiah Berlin, who is a very strong presence in the anti-utopianism of those plays. But that's a matter of opinion.Oliver: No. I like Berlin. One thing about Stoppard that's un-Shavian is that he says his plays begin as a noise or an image or a scene, and then we think of him as this very thinking writer. But is he really more of an intuitive writer?Lee: I think it's a terribly good question. I think it gets right at the heart of the matter, and I think it's both. Sorry, I sound like Turgenev, not making my mind up. But yes, there is an image or there is an idea, or there are often two ideas, as it were, the birth of quantum physics and 18th-century landscape gardening. Who else but Stoppard would put those two things in one play, Arcadia, and have you think about both at once.But the image and the play may well have been a dance between two periods of time together in one room. So I think he never knew what the next play was going to be until it would come at him, as it were. He often resisted the idea that if he chose a topic and then researched it, a play would come out of it. That wasn't what happened. Something would come at him and then he would start doing a great deal of research usually for every play.Oliver: What sort of influence did T. S. Elliot have on him? Did it change the dialogue or, was it something else?Lee: When I was working with him on my biography, he gave me a number of things. I had extraordinary access, and we can perhaps come back to that interesting fact. And most of these things were loans he gave them to me to work on. Then I gave them back to him.But he gave me as a present one thing, which was a black notebook that he had been keeping at the time he was writing Rosencrantz and Guildenstern, and also his first and only novel Lord Malquist and Mr. Moon, which is little known, which he thought was going to make his career. The book was published in the same week that Rosencrantz came up. He thought the novel was going to make his career and the play was going to sink without trace. Not so. In the notebook there are many quotations from T. S. Elliot, and particularly from Prufrock and the Wasteland, and you can see him working them into the novel and into the play.“I am not Prince Hamlet nor was meant to be.” And that sense of being a disconsolate outsider. Ill at ease with and neurotic about the world that is charging along almost without you, and you are having to hang on to the edge of the world. The person who feels themself to be in internal exile, not at one with the universe. I think that point of view recurs over and over again, right through the work, but also a kind of epigrammatical, slightly mysterious crypticness that Elliot has, certainly in Prufrock and in the Wasteland and in the early poems. He loved that tone.Oliver: Yes. When I read your paper about that I thought about Rosencrantz and Guildenstern quite differently. I've always disliked the idea that it's a sort of Beckett imitation play. It seems very Elliotic having read what you described.Lee: There is Beckett in there. You can't get away from it.Oliver: Surface level.Lee: Beckett's there, but I think the sense of people waiting around—Stoppard's favorite description of Rosencrantz was: “It's two journalists on a story that doesn't add up, which is very clever and funny.”Yes. And that sense of, Vladimir going, “What are we supposed to be doing and how are we going to pass the time?” That's profoundly influential on Stoppard. So I don't think it's just a superficial resemblance myself, but I agree that Elliot just fills the tone of that play and other things too.Oliver: In the article you wrote about Stoppard and Elliot, the title is about biographical questing, and you also described Arcadia as a quest. How important is the idea of the quest to the way you work and also to the way you read Stoppard?Lee: I took as the epigraph for my biography of Stoppard a line from Arcadia: “It's wanting to know that makes us matter, otherwise we're going out the way we came in.” So I think that's right at the heart of Stoppard's work, and it's right at the heart of any biographical work, whether or not it's mine or someone else's. If you can't know, in the sense of knowing the person, knowing what the person is like, and also knowing as much as possible about them from different kinds of sources, then you might as well give up.You can't do it through impressions. You've got to do it through knowledge. Of course, a certain amount of intuition may also come into play, though I'm not the kind of biographer that feels you can make things up. Working on a living person, this is the only time I've done that.It was, of course, a very different thing from working on a safely dead author. And I knew Penelope Fitzgerald a little bit, but I had no idea I was going to write her biography when I had conversations with her and she wouldn't have told me anything anyway. She was so wicked and evasive. But it was a set up thing; he asked me to do it. And we had a proper contract and we worked together over several years, during which time he became a friend, which was a wonderful piece of luck for me.I was doing four things, really. One was reading all the material that he produced, everything, and getting to know it as well as I could. And that's obviously the basic task. One was talking to him and listening to him talk about his life. And he was very generous with those interviews. I'm sure there were things he didn't tell me, but that's fine. One was talking to other people about him, which is a very interesting process. And with someone like him who knew everyone in the literary, theatrical, cultural world, you have to draw a halt at some point. You can't talk to a thousand people, or I'd have still been doing it, so you talk to particularly fellow playwrights, directors, actors who've worked with him often, as well as family and friends. And then you start pitting the versions against each other and seeing what stands up and what keeps being said.Repetition's very important in that process because when several people say the same thing to you, then you know that's right. And that quest also involves some actual footsteps, as Richard Holmes would say. Footsteps. Traveling to places he'd lived in and going to Darjeeling where he had been to school before he came to England, that kind of travel.And then the fourth, and to me, in a way, almost the most exciting, was the opportunity to watch him at work in rehearsal. So with the director's permissions, I was allowed to sit in on two or three processes like that, the 50th anniversary production of Rosencrantz and Guildenstern at the Old Vic with David Lavoie. And Patrick Marber's wonderful production of Leopoldstadt and Nick Hytner's production of The Hard Problem at the National. So I was able to witness the very interesting negotiations going on between Tom and the director and the cast.And also the extraordinary fact that even with a play like Rosencrantz, which is on every school syllabus and has been for 50—however many years—he was still changing things in rehearsal. I can't get over that. And in his view, as he often said, theater is an event and not a text, and so one could see that actual process of things changing before one's very eyes, and that for a biographer, it's a pretty amazing privilege.Oliver: How much of the plays were written during rehearsal do you think?Lee: Oh, 99% of the plays were written with much labor, much precision, much correction alone at his desk. The text is there, the text is written, and everything changes when you go into the rehearsal room because you suddenly find that there isn't enough time with that speech for the person to get from the bed to the door. It's physics; you have to put another line in so that someone can make an entrance or an exit, that kind of thing.Or the actors will say quite often, because they were a bit in awe—by the time he became well known—the actors initially would be a bit in awe of the braininess and the brilliance. And quite often the actors will be saying, “I'm sorry, I don't understand. I don't understand this.” You'd often get, “I don't really understand.”And then he would never be dismissive. He would either say, “No, I think you've got to make it work.” I'm putting words into his mouth here. Or he would say, “Okay, let's put another sentence or something like that.”Oliver: Between what he wrote at his desk and the book that's available for purchase now, how much changed? Is it 10%, 50? You know what I mean?Lee: Yes. You should be talking to his editor at Faber, Dinah Wood. So Faber would print a relatively small number for the first edition before the rehearsal process and the final production. And then they would do a second edition, which would have some changes in it. So 2%. Okay. But crucial sometimes.Oliver: No, sure. Very important.Lee: And also some plays like Jumpers went through different additions with different endings, different solutions to plot problems. Travesties, he had a lot of trouble with the Lenins in Travesties because it's the play in which you've got Joyce and you've got Tristan Tzara and you've got the Lenins, and they're all these real people and he makes him talk.But he was a little bit nervous about the Lenin. So what he gave him to say were things that they had really said, that Lenin had really said. As opposed to the Tzara-Joyce stuff, which is all wonderfully made up. The bloody Lenins became a bit of a problem for him. And so that gets changed in later editions you'll find.Oliver: How closely do you think The Real Thing is based on Present Laughter by Noël Coward?Lee: Oh, I think there's a little bit of Coward in there. Yes, sure. I think he liked Coward, he liked Wilde, obviously. He likes brilliant, witty, playful entertainers. He wants to be an entertainer. But I think The Real Thing, he was proud of the fact that The Real Thing was one of the few examples of his plays at that time, which weren't based on something else. They weren't based on Hamlet. They weren't based on The Importance of Being Earnest. It's not based on a real person like Housman. I think The Real Thing came out of himself much more than out of literary models.Oliver: You don't think that Henry is a bit like the actor character in Present Laughter and it's all set in his flat and the couples moving around and the slight element of farce?The cricket bat speech is quite similar to when Gary Essendine—do you remember that very funny young man comes up on the train from Epping or somewhere and lectures him about the social value of art. And Gary Essendine says, “Get a job in a theater rep and write 20 plays. And if you can get one of them put on in a pub, you'll be damn lucky.” It's like a model for him, a loose model.Lee: Yes. Henry, I think you should write an article comparing these two plays.Oliver: Okay. Very good. What does Stoppardian mean?Lee: It means witty. It means brilliant with words. It means fizzing with verbal energy. It means intellectually dazzling. The word dazzling is the one that tends to get used. My own version of Stoppardian is a little bit different from, as it were, those standard received and perfectly acceptable accounts of Stoppardian.My own sense of Stoppardian has more to do with grief and mortality and a sense of not belonging and of puzzlement and bewilderment, within all that I said before, within the dazzling, playful astonishing zest and brio of language and the precision about language.Oliver: Because it's a funny word. It's hard to include Leopoldstadt under the typical use of Stoppardian, because it's an untypical Stoppard.Lee: One of the things about Leopoldstadt that I think is—let's get rid of that trope about Stoppardian—characteristic of him is the remarkable way it deals with time. Here's a play like Arcadia, all set in the same place, all set in the same room, in the same house, and it goes from a big hustling room, late 19th-century family play, just like the beginning of The Coast of Utopia, where you begin with a big family in Russia and then it moves through the '20s and then into the terrible appalling period of the Anschluss and the Holocaust.And then it ends up after the war with an empty room. This room, is like a different kind of theater, an empty room. Three characters, none of whom you know very well, speaking in three different kinds of English, reaching across vast spaces of incomprehension, and you've had these jumps through time.And then at the very end, the original family, all of whom have been destroyed, the original family reappears on the stage. I'm sorry to tell this for anyone who hasn't seen Leopoldstadt. Because when it happens on the stage, it's an absolutely astonishing moment. As if the time has gone round and as if the play, which I think it was for him, was an act of restitution to all those people.Oliver: How often did he use his charm to get his way with actors?Lee: A lot. And not just actors. People he worked with, film people, friends, companions. Charm is such an interesting thing, isn't it? Because we shouldn't deviate, but there's always a slightly sinister aspect to the word charm as in, a magic charm. And one tends to be a bit suspicious of charm. And he knew he had charm and he was physically very magnetic and good looking and very funny and very attentive to people.But I think the charm, in his case, he did use it to get the right results, and he did use it, as he would say, “to look after my plays.” He was always, “I want to look after my plays.” And that's why he went back to rehearsal when there were revivals and so on. But he wasn't always charming. Patrick Marber, who's a friend of his and who directed Leopoldstadt, is very good on how irritable Stoppard could be sometimes in rehearsal. And I've heard that from other directors too—Jack O'Brien, who did the American productions of things like The Invention of Love.If Stoppard felt it wasn't right, he could get quite cross. So this wasn't a sort of oleaginous character at all. It's not smooth, it's not a smooth charm at all. But yes, he knew his power and he used it, and I think in a good way. I think he was a benign character actually. And one of the things that was very fascinating to me, not only when he died and there was this great outpouring of tributes, very heartfelt tributes, I thought. But also when I was working on the biography, I was going around the world trying to find people to say bad things about him, because what I didn't want to do was write a hagiography. You don't want to do that; there would be no point. And it was genuinely quite hard.And I don't know the theater world; it's not my world. I got to know it a little bit then. But I have never necessarily thought of the theater world as being utterly loving and generous about everybody else. I'm sure there are lots of rivalries and spitefulness, as there is in academic life, all the rest of it. But it was very hard to find anyone with a bad word to say about him, even people who'd come up against the steeliness that there is in him.I had an interview with Steven Spielberg about him, with whom he worked a lot, and with whom he did Empire of the Sun. And I would ask my interviewees if they could come up with two or three adjectives or an adjective that would sum him up, that would sum Stoppard up to them. And when I asked Spielberg this question, he had a little think and then he said, intransigent. I thought, great. He must be the only person who ever stood up to him.Oliver: What was his best film script? Did he write a really great film.Lee: That one. I think partly the novel, I don't know if you know the Ballard novel, the Empire of the Sun, it's a marvelous novel. And Ballard was just a magical and amazing writer, a great hero of mine. But I think what Stoppard did with that was really clever and brilliant.I know people like Brazil, the Terry Gilliam sort of surrealist way. And there's some interesting early work. Most of his film work was not one script; it was little bits that he helped with. So there's famously the Indiana Jones and the Last Crusade, he did most of the dialogue for Harrison Ford.But there are others like the One Hundred and One Dalmatians, where I think there's one line, anonymously Stoppardian in there. One of the things about the obituaries that slightly narked me was that there, I felt there was a bit too much about the films. Truly, I don't think the film work was—he wanted it to be right and he wanted to get it right—but it wasn't as close to his heart as the theater work. And indeed the work for radio, which I thought was generally underwritten about when he died. There was some terrific work there.Oliver: Yes. And there aren't that many canonical writers who've been great on the radio.Lee: Absolutely. He did everything. He did film, he did radio. He wrote some opera librettos. He really did everything. And on top of that, there was the great work for the public good, which I think is a very important part of his legacy, his history.Oliver: How much crossover influence is there between the different bits of his career? Does the screenwriting influence the theater writing and the radio and so on? Or is he just compartmentalized and able to do a lot of different things?Lee: That's such an interesting question. I don't think I've thought about it enough. I think there are very cinematic aspects to some of the plays, like Night and Day, for instance, the play about journalism. That could easily have been a film.And perhaps Hapgood as well, although it could be a kind of John le Carré type film thriller, though it's such a set of complicated interlocking boxes that I don't know that it would work as a film. It's not one of my favorite players, I must say. I struggle a little bit with Hapgood. But, yes, I'm sure that they fed into each other. Because he was so busy, he was often doing several things at once. So he was keeping things in boxes and opening the lid of that box. But mentally things must have overlapped, I'm sure.Oliver: He once joked that rather than having read Wittgenstein from cover to cover, he had only read the covers. How true is that? Because I know some people who would say he's very clever in everything, but he's not as clever as he looks. It's obviously not true that he only read the covers.Lee: I think there was a phase, wasn't there, after the early plays when people felt that he was—it's that English phrase, isn't it—too clever by half. Which you would never hear anyone in France saying of someone that they were too clever by half. So he was this kind of jazzy intellectual who put all his ideas out there, and he was this sort of self-educated savant who hadn't been to Oxford.There was quite a lot of that about in the earlier years, I think. And a sense that he was getting away with it, to which I would countermand with the story of the writing of The Invention of Love. So what attracted him to the figure of Housman initially was not the painful, suppressed homosexual love story, but the fact that here was this person who was divided into a very pernickety, savagely critical classical editor of Latin and a romantic lyric poet. In order to work out how to turn this into a play, he probably spent about six years taking Latin lessons, reading everything he could read on the history of classical literature. Obviously reading about Housman, engaging in conversation with classical scholars about Housman's, finer points of editorial precision about certain phrases. And what he used from that was the tip of the iceberg. But the iceberg was real.He really did that work and he often used to say that it was his favorite play because he'd so much enjoyed the work that went into it. I think he took what he needed from someone like Wittgenstein. I know you don't like The Coast of Utopia very much, but if you read his background to Coast of Utopia, what went into it, and if you compare what's in the plays, those three plays, with what's in the writing about those revolutionaries, he read everything. He may have magpied it, but he's certainly knows what he's talking about. So I defend him a bit against that, I think.Oliver: Good, good. Did you see the recent production at the Hamstead Theatre of The Invention of Love?Lee: I did, yes.Oliver: What did you think?Lee: I liked it. I thought it was rather beautifully done. I liked those boats rowing around that clicked together. I thought Simon Russell Beale was extremely good, particularly very moving. And very good in Housman's vindictiveness as a critic. He is not a nice person in that sense. And his scornfulness about the women students in his class, that kind of thing. And so there was a wonderful vitriol and scorn in Russell Beale's performance.I think when you see it now, some of the Oxford context is a little bit clunky, those scenes with Jowett and Pater and so on, it's like a bit of a caricature of the context of cultural life at the time, intellectual life at the time. But I think that the trope of the old and the young Housman meeting each other and talking to each other, which I still think is very moving. I thought it worked tremendously well.Oliver: What are Tom Stoppard's poems like?Lee: You see them in Indian Ink where he invents a poet, Flora Crewe, who is a poet who was died young, turn of the century, bold feminist associated with Bloomsbury and gets picked up much later as a kind of Sylvia Plath-type, HD type heroine. And when you look at Stoppard's manuscripts in the Harry Ransom Center in the University of Austin, in Texas, there is more ink spent on writing and rewriting those poems of Flora Crewe than anything else I saw in the manuscript. He wrote them and rewrote them.Early on he wrote some Elliot—they're very like Elliot—little poems for himself. I think there are probably quite a lot of love poems out there, which I never saw because they belong to the people for whom he wrote them. So I wouldn't know about those.Oliver: How consistently did Stoppard hold to a kind of liberal individualism in his politics?Lee: He was accused of being very right wing in the 1980s really, 1970s, 1980s, when the preponderant tendency for British drama was radicalism, Royal Court, left wing, all of that. And Stoppard seemed an outlier then, because he approved of Thatcher. He was a friend of Thatcher. He didn't like the print union. It was particularly about newspapers because he'd been a newspaper man in his youth. That was his alternative university education, working in Bristol on the newspapers. He had a romance heroic feeling about the value of the journalist to uphold democracy, and he hated the pressure of the print unions to what he thought at the time was stifling that.He changed his mind. I think a lot about that. He had been very idealistic and in love with English liberal values. And I think towards the end of his life he felt that those were being eroded. He voted lots of different ways. He voted conservative, voted green. He voted lib dem. I don't if he ever voted Labour.Oliver: But even though his personal politics shifted and the way he voted shifted, there is something quite continuous from the early plays through to Rock ‘n' Roll. Is there a sort of basic foundation that doesn't change, even though the response to events and the idea about the times changes?Lee: Yes, I think that's right, and I think it can be summed up in what Henry says in The Real Thing about politics, which is a version of what's often said in his plays, which is public postures have the configuration of private derangement. So that there's a deep suspicion of political rhetoric, especially when it tends towards the final solution type, the utopian type, the sense that individual lives can be sacrificed in the interest of an ultimate rationalized greater good.And then, he's worked in the '70s for the victims of Soviet communism. His work alongside in support of Havel and Charter 77. And he wrote on those themes such as Every Good Boy Deserves Favour and Professional Foul. Those are absolutely at the heart of what he felt. And they come back again when he's very modest about this and kept it quiet. But he did an enormous amount of work for the Belarus exile, Belarus Free Theater collective, people in support of those trying to work against the regime in Belarus.And then the profound, heartfelt, intense feeling of horror about what happened to people in Leopoldstadt. That's all part of the same thing. I think he's a believer in individual freedom and in democracy and has a suspicion of political rhetoric.Oliver: How much were some of his great parts written for specific actors? Because I sometimes have a feeling when I watch one of his plays now, if I'd been here when Felicity Kendal was doing this, I would be getting the whole thing, but I'm getting most of it.Lee: I'm sure that's right. And he built up a team around him: Peter Wood, the director and John Wood who's such an extraordinary Henry Carr in in in Travesties. And Michael Hordern as George the philosopher in Jumpers. And he wrote a lot for Kendal, in the process of becoming life companions.But he'd obviously been writing and thinking of her very much, for instance, in Arcadia. And also I think very much, it's very touching now to see the production of Indian Ink that's running at Hampstead Theatre in which Felicity Kendal is playing the older woman, the surviving older sister of the poet Flora Crewe, where of course the part of Flora Crewe was written for her. And there's something very touching about seeing that now. And, in fact, the first night of that production was the day of Stoppard's funeral. And Kendal couldn't be at the funeral, of course, because she was in the first night of his play. That's a very touching thing.Oliver: Why did he think the revivals came too soon?Lee: I don't really know the answer to that. I think he thought a play had to hook up a lot of oxygen and attract a lot of attention. If you were lucky while it was on, people would remember the casting and the direction of that version of it, and it would have a kind of memory. You had to be there.But people who were there would remember it and talk about it. And if you had another production very soon after that, then maybe it would diminish or take away that effect. I think he had a sort of loyalty to first productions often. What do you think about that? I'm not quite sure of the answer to that.Oliver: I don't know. To me it seems to conflict a bit with his idea that it's a living thing and he's always rewriting it in the rehearsal room. But I think probably what you say is right, and he will have got it right in a certain way through all that rehearsing. You then need to wait for a new generation of people to make it fresh again, if you like.Lee: Or not a generation even, but give it five years.Oliver: Everyone new and this theater's working differently now. We can rework it in our own way. Can we have a few questions about your broader career before we finish?Lee: Depends what they are.Oliver: Your former colleague John Carey died at a similar time to Stoppard. What do you think was his best work?Lee: John Carey's best work? Oh. I thought the biography of Golding was pretty good. And I thought he wrote a very good book on Thackery. And I thought his work on Milton was good. I wasn't so keen on The Intellectuals and the Masses. He and I used to have vociferous arguments about that because he had cast Virginia Woolf with all the modernist fascists, as it were. He'd put her in a pile with Wyndham Lewis and Ezra Pound and so on. And actually, Virginia Woolf was a socialist feminist. And this didn't seem to have struck him because he was so keen to expose her frightful snobbery, which is what people in England reading Woolf, especially middle class blokes, were horrified by.And she is a snob, there's no doubt about it. But she knew that and she lacerated herself for it too. And I think he ignored all the other aspects of her. So I was angry about that. But he was the kind of person you could have a really good argument with. That was one of the really great things about John.Oliver: He seems to be someone else who was amenable and charming, but also very steely.Lee: Yes, I think he probably was I think he probably was. You can see that in his memoir, I think.Oliver: What was Carmen Callil like?Lee: Oh. She was a very important person in my life. It was she who got me involved in writing pieces for Virago. And it was she who asked me to write the life of Virginia Woolf for Chatto. And she was an enormous, inspiring encourager as she was to very many people. And I loved her.But I was also, as many people were, quite daunted by her. She was temperamental, she was angry. She was passionate. She was often quite difficult. Not a word I like to use about women because there's that trope of difficult women, but she could be. And she lost her temper in a very un-English way, which was quite a sight to behold. But I think of her as one of the most creative and influential publishers of the 20th century.Oliver: Will there be a biography of her?Lee: I don't know. Yes, it's a really interesting question, and I've been asking her executors whether they have any thoughts about that. Somebody said to me, oh, who wants a biography of a publisher? But, actually, publishers are really important people often, so I hope there would be. Yes. And it would need to be someone who understood the politics of feminism and who understood about coming from Australia and who understood about the Catholic background and who understood about her passion for France. And there are a whole lot of aspects to that life. It's a rich and complex life. Yes, I hope there will be someday.Oliver: Her papers are sitting there in the British Library.Lee: They are. And in fact—you kindly mentioned this to start with—I've just finished a biography of the art historian and novelist, Anita Brookner, who won the Booker prize in 1984 for a novel called Hotel du Lac.And Carmen and Anita were great buddies, surprisingly actually, because they were very different kinds of characters. And the year before she died, Carmen, who knew I was working on Anita, showed me all her diary entries and all the letters she'd kept from Anita. And that's the kind of generous person that she was.That material is now sitting in the British Library, along with huge reams of correspondence between Carmen and many other people. And it's an exciting archive.Oliver: She seems to have had a capacity to be friends with almost anyone.Lee: Yes, I think there were people she would not have wanted to be friends with. She was very disapproving of a lot of political figures and particularly right-wing figures, and there were people she would've simply spat at if she was in the room with them. But, yes, she an enormous range of friends, and she was, as I said, she was fantastically encouraging to younger women writers.And, also, another aspect of Carmen's life, which I greatly admired and was fascinated by: In Virago she would often be resuscitating the careers of elderly women writers who had been forgotten or neglected, including Antonia White and including Rosamund Lehmann. And part of Carmen's job at Virago, as she felt, was not just to republish these people, some of whom hadn't had a book published for decades, but also to look after them. And they were all quite elderly and often quite eccentric and often quite needy. And Carmen would be there, bringing them out and looking after them and going around to see them. And really marvelous, I think.Oliver: Yes, it is. Tell me about Brian Moore.Lee: Breean, as he called himself.Oliver: Oh, I'm sorry.Lee: No, it's all right. I think Brian became a friend because in the 1980s I had a book program on Channel 4, which was called Book Four. It had a very small audience, but had a wonderful time over several years interviewing lots and lots of writers who had new books out. We didn't have a budget; it was a table and two chairs and not the kind of book program you see on the television anymore. And I got to know Brian through that and through reviewing him a bit and doing interviews with him, and my husband and I would go out and visit him and his wife Jean.And I loved the work. I thought the work was such a brilliant mixture of popular cultural forms, like the thriller and historical novel and so on. And fascinating ideas about authority and religion and how to be free, how to break free of the bonds of what he'd grown up with in Ireland, in Northern Ireland, the bombs of religious autocracy, as it were. And very surreal in some ways as well. And he was also a very charming, funny, gregarious person who could be quite wicked about other writers.And, he was a wonderfully wicked and funny companion. What breaks my heart about Brian Moore is that while he was alive, he was writing a novel maybe every other year or every three years, and people would review them and they were talked about, and I don't think they were on academic syllabuses but they were really popular. And when he died and there were no more books, it just went. You can think of other writers like that who were tremendously well known in their time. And then when there weren't any more books, just went away. You ask people, now you go out and ask people, say, “What about The Temptation of Eileen Hughes or The Doctor's Wife or Black Robe? And they'll go, “Sorry?”Oliver: If anyone listening to this wants to try one of his novels, where do you say they should start?Lee: I think I would start with The Doctor's Wife and The Temptation of Eileen Hughes. And then if one liked those, one would get a taste for him. But there's plenty to choose from.Oliver: What about Catholics?Lee: Yes. Catholics is a wonderful book. Yes. Wonderful book. Bit like Muriel Spark's The Abbess of Crewe, I think.Oliver: How important is religion to Penelope Fitzgerald's work?Lee: She would say that she felt guilty about not having put her religious beliefs more explicitly into her fiction. I'm very glad that she didn't because I think it is deeply important and she believes in miracles and saints and angels and manifestations and providence, but she doesn't spell it out.And so when at the end of The Gate of Angels, for instance, there is a kind of miracle on the last page but it's much better not to have it spelt out as a miracle, in my view. And in The Blue Flower, which is not my favorite of her books, but it's the book of the greatest genius possibly. And I think she was a genius. There is a deep interest in Novalis's romantic philosophical ideas about a spiritual life, beyond the physical life, no more doctrinally than that. And she, of course, believes in that. I think she believed, in an almost Platonic way, that this life was a kind of cave of shadows and that there was something beyond that. And there are some very mysterious moments in her books, which, if they had been explained as religious experiences, I think would've been much less forceful and much less intense.Oliver: What is your favorite of her books?Lee: Oh, The Beginning of Spring. The Beginning of Spring is set in Moscow just before the revolution. And its concerns an Englishman who runs a print and publishing works. And it's based quite a lot on some factual narratives about people in Moscow at the time. And it's about the feeling of that place and that time, but it's also about being in love with two people at the same time.And, yes, and it's about cultural clashes and cultural misunderstanding, and it is an astonishingly evocative book. And when asked about this book, interviewers would say to Penelope, oh, she must have lived in Moscow for ages to know so much about it. And sometimes she would say, “Yes, I lived there for years.” And sometimes she would say, “No, I've never been there in my life.” And the fact was she'd had a week's book tour in Moscow with her daughter. And that was the only time she ever went to Russia, but she read. So it was a wonderful example of how she would be so wicked; she would lie.Oliver: Yes.Lee: Because she couldn't be bothered to tell the truth.Oliver: But wasn't she poking fun at their silly questions?Lee: Yes. It's not such a silly question. I would've asked her that question. It is an astonishing evocation of a place.Oliver: No, I would've asked it too, but I do feel like she had this sense of it's silly to be asked questions at all. It's silly to be interviewed.Lee: I interviewed her about three times—and it was fascinating. And she would deflect. She would deflect, deflect. When you asked her about her own work, she would deflect onto someone else's work or she would tell you a story. But she also got quite irritable.So for instance, there's a poltergeist in a novel called The Bookshop. And the poltergeist is a very frightening apparition and very strong chapter in the book. And I said to her in interview, “Look, lots of people think this is just superstition. There aren't poltergeists.” And she looked at me very crossly and said they just haven't been there. They don't know what they're talking about. Absolutely factual and matter of fact about the reality of a poltergeist.Oliver: What makes Virginia Woolf's literary criticism so good?Lee: Oh, I think it's a kind of empathy actually. That she has an extraordinary ability to try and inhabit the person that she's writing about. So she doesn't write from the point of view of, as it were, a dry, historical appreciation.She's got the facts and she's read the books, but she's trying to intimately evoke what it felt like to be that writer. I don't mean by dressing it up with personal anecdotes, but just she has an extraordinary way of describing what that person's writing is like, often in images by using images and metaphors, which makes you feel you are inside the story somehow.And she loves anecdotes. She's very good at telling anecdotes, I think. And also she's not soft, but she's not harshly judgmental. I think she will try and get the juice out of anything she's writing about. Most of these literary criticism pieces were written for money and against the clock and whilst doing other things.So if you read her on Dorothy Wordsworth or Mary Wollstonecraft or Henry James, there's a wonderful sense of, you feel your knowledge has been expanded. Knowledge in the sense of knowing the person; I don't mean in the sense of hard facts.Oliver: Sure. You've finished your Anita Brookner biography and that's coming this year.Lee: September the 10th this year, here and in the States.Oliver: What will you do next?Lee: Yes. That's a very good question, though a little soon, I feel.Oliver: Is there someone whose life you always wanted to write, but didn't?Lee: No. No, there isn't. Not at the moment. Who knows?Oliver: You are open to it. You are open.Lee: Who knows what will come up.Oliver: Yes. Hermione Lee, this was a real pleasure. Thank you very much.Lee: Thank you very much. It was a treat. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Send us a textIn this episode, we sat down with the luminous Holly Godliman as she prepares to take the stage at the Old Vic in Tom Stoppard's masterpiece, Arcadia. As the production approaches its February 4th opening, Holly delves into the "brilliant machinery" of Stoppard's writing and her role as the spirited Chloë Coverly—the modern-day character who famously suggests that sex is the one force capable of upsetting Newton's deterministic universe. From the technical rigors of mastering chaos theory dialogue to the unique energy of performing "in the round" under Carrie Cracknell's direction, Holly offers a rare, intellectual glimpse into the rehearsal room of what is widely considered the greatest play of the late 20th century.Beyond the gardens of Sidley Park, the conversation explores Holly's meteoric rise following her "startlingly assured" professional debut in Doubt: A Parable. Carlos and Holly revisit the high-stakes atmosphere of that production in Bath, reflecting on the lessons she carried from acting alongside Maxine Peake into her current collaboration with friends like Isis Hainsworth. It is a warm, deeply personal exploration of an actress finding her footing on the world's most historic stages, balancing the disciplined curiosity of a researcher with the raw confidence of a natural-born performer.

Send us a textOver the last few years, Rosie Sheehy has established herself as a force to reckon with. Her latest role sees her making her Royal Court Theatre debut in Luke Norris' Guess How Much I Love You? The new play explores what it means to be in a long term relationship and the difficult choices that come with being in love. She'll be starring opposite Robert Aramayo and Lena Kaur, and we hear her talk affectionately about Luke's writing as well as Jeremy Herrin's masterful direction. Having previously performed at the Old Vic, the National Theatre and the RSC, we hear Rosie share her excitement at being at the Royal Court to debut what is expected to be a searing drama from Luke Norris.In this brand new interview, Rosie Sheehy discusses with us how she balances the light and shade in all her roles and how it's been a joy to develop her character in Guess How Much I Love You? We talk about her Port Talbot roots and look back on some of her recent roles such as her Olivier Award nominated performance as the young woman in Machinal and her heartbreaking role as Julie in Gary Owen's Romeo and Julie. During our conversation, we also talk about Oleanna and her recent reunion with Harry Lighton on his acclaimed new film: Pillion. During our conversation, Rosie tells us how a lot of these dark stories are often still about love and how it can be presented in so many different forms. It's a fascinating conversation as she prepares to begin performances for her latest project which is expected to be another emotional ride.Guess How Much I Love You? runs at the Royal Court Theatre from 16 January - 21 February.

Tanisha Spring is back In The Frame!Tanisha is playing Belle in Matthew Warchus' production of A Christmas Carol at The Old Vic.The Old Vic's production of A Christmas Carol has become an annual event and this year Paul Hilton is playing Scrooge. The show marks Tanisha's return to The Old Vic and reunion with Matthew Warchus, after playing Rita in the 2023 production of Groundhog Day. Tanisha was last on this podcast two years ago whilst starring as Satine in Moulin Rouge, a role she played full-time after being in the original London cast as Alternate Satine. Tanisha made her West End debut in Thriller Live (Lyric Theatre). Her theatre credits also include: The Prince of Egypt (Dominion Theatre), Shuck ‘n' Jive (Soho Theatre), Making P***n (Above the Stag), Caroline or Change (Playhouse Theatre), Big Fish (The Other Palace), One Love (Birmingham Rep) and Beautiful: The Carole King Musical (Aldwych Theatre). As well as discussing all-things A Christmas Carol, in this episode Tanisha discusses her run in Moulin Rouge and what it was like to return to the show last-minute earlier this year. She also talked about career goals, why she's taking a break from producing and lots more. A Christmas Carol runs at The Old Vic through until 10th January. Visit www.oldvictheatre.com for info and tickets. This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

As he approaches press night, we check in with award-winning actor Paul Hilton, who is getting his Scrooge on this Christmas at the Old Vic. He reflects on finding his own way into the iconic miser, and what drew him to Jack Thorne's adaptation of Charles Dickens' classic after initially turning the role down. More broadly, he reflects on his career: bringing The Inheritance to New York after its landmark London moment, and the work he did helping to save Oldham Coliseum. He also expresses a great desire to work on Hamlet Hail To The Thief with Thom Yorke once again – if ever the moment arose. Hosted on Acast. See acast.com/privacy for more information.

Today on Whats My Frame I'm joined by acclaimed playwright and screenwriter Daniel Pearle. Daniel joins us to chat about his newest project THE BEAST IN ME where he served as writer and executive producer. We take a deep dive into creative process, research and understanding your character's voice. Daniel's plays have been produced and developed at Lincoln Center Theater, London's Old Vic, The Vineyard, Ars Nova, and at regional theaters around the country. His play A Kid Like Jake premiered in a sold-out run at LCT3/Lincoln Center Theater (NY Times Critic's Pick). Other plays include Freefall (finalist, 2017 O'Neill Playwrights Conference), Remote Viewing (semi-finalist, 2015 O'Neill Playwrights Conference), and The Prodigies (semi-finalist, 2013 O'Neill Playwrights Conference).Daniel's feature film adaptation of A Kid Like Jake premiered at the 2018 Sundance Film Festival. The film is directed by Silas Howard and stars Claire Danes, Jim Parsons, and Octavia Spencer. Other film credits include: Minyan (2020) and Oliver Sipple (currently in development with Mad Chance Productions).Daniel served as co-showrunner and executive producer on season 2 of Fox's Accused and is currently a writer and executive producer on Netflix's upcoming The Beast in Me. Other TV credits include Impeachment: American Crime Story (FX) and One of Us is Lying (Peacock). Daniel was awarded the 2018 Humanitas New Voices Grant for emerging writers in television. He is an alum of Ars Nova's Play Group and a MacDowell Fellow. He earned his BA from Harvard University and his MFA from The New School for Drama.Official site@danielpearle

In this episode Hilliard and guest co-host writer/director Gregg Simon sat down for almost two hours with DANIEL PEARLE Executive Producer of the new Netflix thriller called THE BEAST IN ME starring Claire Daines and Matthew Rhys.Daniel Pearle is an American playwright and screenwriter. His plays have been produced and developed at Lincoln Center Theater, London's Old Vic, The Vineyard, Ars Nova, and at regional theaters around the country. His play A Kid Like Jake premiered in a sold-out run at LCT3/Lincoln Center Theater (NY Times Critic's Pick). The play won the 2013 Laurents/Hatcher Foundation Award and was also awarded the prestigious Blanche and Irving Laurie Foundation's Theatre Visions Grant.Daniel's feature film adaptation of A Kid Like Jake premiered at the 2018 Sundance Film Festival. The film is directed by Silas Howard and stars Claire Danes, Jim Parsons, Octavia Spencer, Priyanka Chopra, Amy Landecker, and Ann Dowd. IFC Films acquired domestic rights for the film, which opened in theaters June 1, 2018. He is currently writing an original feature film for Warner Bros.His other plays include Freefall (finalist, 2017 O'Neill Playwrights Conference), Remote Viewing (semi-finalist, 2015 O'Neill Playwrights Conference), The Prodigies (semi-finalist, 2013 O'Neill Playwrights Conference), and Plunder (winner, 2008 Loeb Drama Center's Phyllis Anderson Prize). His short play The Truth About Christmas was a winner of the 2011 Samuel French Off-Off Broadway Short Play Festival.Daniel was a recipient of the 2018 Humanitas New Voices Grant for emerging writers in television. He received a WGA Award Nomination for his work on FX's Impeachment: American Crime Story. Other TV credits include One of Us Is Lying (Peacock) and Accused (Fox). He is an alum of Ars Nova's Play Group and a MacDowell Fellow. He earned his BA from Harvard University and his MFA from The New School for Drama.

This week, Mickey-Jo had the chance to sit down with one of his favourite performers, the brilliant Melanie La Barrie.Mel is currently appearing in Mary Page Marlowe at the Old Vic and rehearsing for three upcoming concert performances of a new musical based on The Book Thief.Best known to audiences for starring in & Juliet in the West End and on Broadway, and for her WhatsOnStage Award winning performance in Hadestown, Mel has enjoyed a multi-decade career on stage that has included roles in Mary Poppins, Matilda, Wicked, Les Misérables, and more.Check out what she had to say about her career, co-stars, early inspirations, and the nature of the roles she has played.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 89,000 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.

World Cup winner and nominee for World Rugby Player of the Year, Meg Jones, joins Nuala McGovern. Following the Red Roses' win at the weekend, many have named Meg their player of the tournament. Meg reflects on the big win and how the death of both of her parents last year powered her on. A ‘carent 'is an adult child who is caring for one or both of their ageing parents, in-laws or elderly relatives. Many ‘carents' will be balancing work and family alongside. Dr Jackie Gray, a retired GP and founder of The Carents Room, joins Nuala to discuss, along with Kendra and Rachel who provide care for their parents. Award-winning actor Andrea Riseborough is one of five women portraying Mary Page Marlowe on stage at the Old Vic in London. The play is described as a “time-jumping mosaic” that spans 70 years in the life of an accountant and mother of two from Ohio. Andrea joins Nuala to discuss sharing the role with Susan Sarandon, and how this seemingly simple story of an ordinary woman invites audiences to reflect on our own lives. Author Bridget Collins discusses her latest novel, The Naked Light, a haunting gothic tale of ancient darkness, and a love that defies convention. It's set in England and focuses on three “surplus women” after the first world war.Presenter: Nuala McGovern Producer: Dianne McGregor

Melanie La Barrie is In The Frame! Melanie is currently playing Nurse in the UK premiere of Mary Page Marlowe, marking her return to The Old Vic where she previously performed in The Lorax. Melanie is also reuniting with artistic director Matthew Warchus who directed her as Mrs Phelps in the original cast of Matilda. Mary Page Marlowe is written by Tracy Letts, with cast also including Susan Sarandon and Andrea Riseborough. Melanie is also preparing to star as Death in the concert production of The Book Thief at the Prince of Wales Theatre in October. Some of Melanie's other theatre credits include Madame Morrible in Wicked (Apollo Victoria), Madame Thénardier in Les Misérables (Queen's Theatre) and Bow Belles in Dick Whittington (National Theatre). Melanie was the original Mrs Corry in Mary Poppins, the original Angélique in And Juliet (in the West End and on Broadway) and most recently she starred as Hermes in the original West End cast of Hadestown, picking up the WhatsOnStage Award for Best Supporting Performer in a Musical. Recorded backstage at The Old Vic, in this episode Melanie discusses what makes Mary Page Marlowe a dreamy job and why she's delighted to be reuniting with two of her Matilda cast mates, Lauren Ward and Eleanor Worthington-Cox. Melanie also discusses her approach to this industry, her reflections on special times Hadestown, And Juliet and Matilda… and lots more.Mary Page Marlowe runs at The Old Vic until 1st November 2025. Visit www.oldvictheatre.com for info and tickets. This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

It's been 20 years since the 7/7 attacks in London, which claimed the lives of 52 civilians and injured almost 800. Krupa Padhy talked to Gill Hicks, who was on the Piccadilly line Tube that morning and lost her legs in the blast, and nurse Kate Price, who was working in intensive care at St Thomas' Hospital. They discuss their memories of that day and the aftermath, as well as the lasting bond they have formed.An exhibition celebrating the life and work of renowned Australian artist Emily Kam Kngwarray has opened at the Tate Modern in London. Respectfully known as ‘the old lady' by her community, Emily didn't start painting on canvas until her 70s. Anita Rani talked to art curator Kelli Cole about Emily's paintings, which were inspired by her life as a senior Anmatyerr woman from the Sandover region of the Northern Territory of Australia.The TV presenter and autism advocacy campaigner, Christine McGuinness, is mother of three autistic children, and she received an autism diagnosis herself as an adult. She is highlighting new research that found that half of parents of children with disabilities surveyed said their child is excluded from play due to playgrounds being inaccessible to them. From Frank Sinatra to the Beatles, many of the biggest male stars built their early careers on the romantic appeal to young women. Bea Martinez-Gatell is author of Swoon, Fangirls, Their Idols And The Counterculture of Female Lust – From Byron To The Beatles. She joined Anita to explain that far from passive consumers, fangirls were actually tastemakers, visionaries and cultural disruptors.Fatima Timbo, known as Fats Timbo, is a content creator and comedian who has amassed an incredible 3 million followers on TikTok. Since appearing on TV show The Undateables in 2018, she's also been part of the team bringing us the Paralympics coverage from Paris last year. Born with achondroplasia, a form of dwarfism, she shares her tips for succeeding in a world where it's difficult to be different in her book Main Character Energy: Ten Commandments for Living Life Fearlessly. Katie Brayben is a two-time Olivier award winner for Best Actress in A Musical for Tammy Faye and Beautiful: The Carole King Musical. Now she is reprising the role of Elizabeth Laine in Girl From the North Country currently on stage at the Old Vic in London. Katie sang live in the studio. Presenter: Anita Rani Producer: Annette Wells Editor: Andrea Kidd

Katie Brayben is a two-time Olivier award winner for Best Actress in A Musical for Tammy Faye and Beautiful: The Carole King Musical. Now she is reprising the role of Elizabeth Laine in Girl From the North Country currently on stage at the Old Vic in London. Katie joins Anita Rani to explain what has drawn her back to this role.A third of women who died during or in the year after pregnancy were known to children's social care, according to new research. The study by Kings College London, Oxford University and the charity Birth Companions, examined the data of nearly 1,400 women who died between 2014 and 2022. In particular, they looked at the 420 known to social services, half of those women died by suicide or from substance-related causes. Anita discusses the research with Kaat De Backer, Researcher King's College London and Amy Van Zyl, Chief Executive, Her Circle.From Frank Sinatra to the Beatles, many of the biggest male stars built their early careers on the romantic appeal to young women. Bea Martinez-Gatell is author of Swoon, Fangirls, Their Idols And The Counterculture of Female Lust – From Byron To The Beatles. She joins Anita to explain that far from passive consumers, fangirls were actually tastemakers, visionaries and cultural disruptors.Actor Jane Birkin's original Hermes Birkin has sold for £7.4 million pounds - becoming the most valuable handbag to ever be sold at auction. What makes the bag so iconic? Justine Picardie, writer and former editor in chief of Harpers Bazaar, and Marisa Meltzer, who has written It Girl: The Life and Legacy of Jane Birkin, join Anita to discuss the story behind the bag and what makes a fashion accessory so alluring.

Maria Omakinwa is playing Mrs Neilsen in Girl from the North Country.Written and directed by Conor McPherson with music and lyrics by Bob Dylan, the Olivier Award winning show has returned to the Old Vic for another run. Maria is no stranger to Girl from the North Country, having previously performed in the West End production and UK tour. Maria has worked at the Old Vic previously, appearing in A Christmas Carol and Sylvia. Her theatre credits include Tina: The Tina Turner Musical (West End/Theatre Royal Sydney), Show Boat, The Bodyguard and Avenue Q (West End), A Monster Calls and Soul Sister (UK Tour), One Love: The Bob Marley Musical (Birmingham Rep), Grimm Tales for Young and Old (Bargehouse) and Little Shop of Horrors (Kilworth House Theatre). Maria also appeared in the film adaptation of Matilda The Musical (Netflix). In this episode Maria discusses her history with Girl from the North Country and what makes it such a special piece to perform. She also talks about her journey into theatre and some of the shows she has been in along the way.Girl from the North Country runs at the Old Vic until 23rd August. Visit www.oldvictheatre.com for info and tickets. This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

With this week's main episode coming out two days early, special guest Katie Brayben joins Alex Wood for a Friday chitchat. The two-time Olivier Award-winner will be returning to the role of Elizabeth in the hit Bob Dylan musical Girl from The North Country, now playing once more at the Old Vic in London. Other topics include Brayben's time in Tammy Faye, the state of new musicals and the problems performers face with social media. Hosted on Acast. See acast.com/privacy for more information.

Authors Matt Cain and Eimear McBride join Tom Sutcliffe to review a new remake of Ang Lee's 1993 classic The Wedding Banquet. They also discuss Isabel Allende's new novel My Name is Emilia del Valle and the play The Brightening Air, on at the Old Vic theatre in London. And the National Gallery is having a re-hang, we speak to Head of the Curatorial Department, Christine Riding.

Mickey-Jo was recently invited to see THE BRIGHTENING AIR at the Old Vic Theatre in London, the new play from Conor McPherson (The Weir, Girl from the North Country).The play, which feels in many ways inspired by Anton Chekhov's Uncle Vanya, is set in 1980s Ireland and depicts an uncomfortable family reunion during which discussions of faith and the mundanity of life give way to startling revelations.Check out this full review for Mickey-Jo's thoughts on the characters, themes, and McPherson's dual role as playwright and director...•00:00 | introduction01:36 | overview / characters10:26 | themes / development16:26 | writing / performances• get in person / live stream tickets to see MickeyJoTheatre LIVE at the Phoenix Arts Club:https://phoenixartsclub.com/events/mickeyjotheatre-live/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. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. 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. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

It was a crime that horrified the nation. Three young girls murdered and another eight children and two adults seriously injured at a yoga and dance workshop in Southport in July 2024. Teacher Leanne Lucas, who was running the event, has agreed to speak for the first time about what happened. She's been speaking to the BBC's special correspondent Judith Moritz who joins Nuala McGovern.The German election results are in and there's now a female-led, far-right party in opposition. Journalist and Visiting Research Fellow at Kings College London Katja Hoyer tells Nuala about the role of women in the new German political landscape.Indira Varma is an Olivier-award-winning actor who has starred in everything from West End hits to Game of Thrones. She is currently on stage at the Old Vic in London, playing Jocasta to Rami Malek's Oedipus. She joins Nuala in the Woman's Hour studio.Nigerian American science fiction author Nnedi Okorafor's new book is Death of the Author. It follows the story of Zelu, a novelist who is disabled, unemployed and from a very judgmental family. Nnedi and Nuala talk about the book within her book, success, and the influence on her writing of being an athlete in her earlier years.

This week, Edith Hall finds herself mesmerised, entranced and perplexed by Sophocles; and Barnaby Phillips on a bizarre imperial incursion in 19th-century Africa.'Oedipus', by Sophocles, Old Vic until March 29'Electra', by Sophocles, Duke of York's Theatre until April 12'A Training School for Elephants', by Sophy Roberts Hosted on Acast. See acast.com/privacy for more information.

Earlier this week, a new production of OEDIPUS opened at the Old Vic Theatre in London, notably the second iteration of the Sophocles play in the last few months.The Greek tragedy stars Rami Malek and Indira Varma and incorporates much contemporary dance in place of a traditional Greek Chorus.Check out this brand new review to find out what Mickey-Jo thought about this much talked about new production...•00:00 | introduction02:11 | synopsis / overview05:14 | material11:01 | creative choices14:53 | performances•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 70,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. 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. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

Tom is joined by the writer and broadcaster Octavia Bright and the Observer's theatre critic Susannah Clapp to review another version of the Greek classic Oedipus, this time at the Old Vic in London and starring Rami Malek.Also reviewed: The Last Showgirl, which has Pamela Anderson starring as Shelley with Jamie Lee Curtis as her good friend. Shelley's Vegas cabaret show is closing and the imminent change forces her to confront her life choices. And: We Do Not Part, the new novel by Nobel Prize for Literature winner, the Korean writer Han Kang. We also hear about the Japanese collaborative SANAA, founded by Kazuyo Sejima and Ryue Nishizawa, which has won the Royal Institute of British Architects' Royal Gold Medal for architecture, from Professor Sadie Morgan. Presenter: Tom Sutcliffe Producer: Corinna Jones

One of a handful of new productions of plays opening this week in London is ELEKTRA, the Sophoclean tragedy as translated by Anne Carson in a bold new staging from director Daniel Fish. Brie Larson (Room, Lessons in Chemistry, Captain Marvel), is making her West End debut. The cast also includes internationally renowned Stockard Channing (The West Wing, The Good Wife), Marième Diouf (Romeo and Juliet, The Globe), Greg Hicks (Grapes of Wrath, The National Theatre, Coriolanus, The Old Vic) and Patrick Vaill (Stranger Things: The First Shadow, Evening Standard Award winner for his role in Oklahoma!). Check out this review to find out what struck Mickey-Jo about this production, and what he ranked as its biggest mistake... • 00:00 | introduction 01:56 | context / overview 08:39 | the production 14:58 | performances 21:10 | final thoughts • 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 70,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. 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. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

Social media manager Ksenya Gray returns to co-host The West End Frame Show.Andrew and Ksenya discuss The Lighting Thief: The Percy Jackson Musical (The Other Palace) and The Producers (Menier Chocolate Factory) as well as the latest news about Cabaret casting, The Traitors: Live Experience, the Old Vic, Wicked, Boy George and lots more.Ksenya runs the social media company Storytellers. This year she did social media for several concerts at the Theatre Royal Drury Lane, including Wild About You, Little Piece Of You, Your Lie In April and Pippin. She continued working with Your Lie In April when it transferred to the West End and worked on Blippi: A Wonderful World Tour in the West End. Additionally she did One Small Step and Tattooer at the Charing Cross Theatre. Also this year Ksenya has managed social media for Marisha Wallace, Sidney Christmas, Rachel Tucker, Antony Costa and West Way Music who have a season of concerts coming up at the Vaudeville Theatre next year. Follow Ksenya on Instagram: @ksenya.gray This podcast is hosted by Andrew Tomlins. @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.   

Tamara Tare (Shrek / Just For One Day) co-hosts The West End Frame Show!Andrew and Tamara discuss Here And Now: The Steps Musical (Alexandra Theatre, Birmingham) as well as the latest news about the Wicked movie's box office success, If/Then starring Kerry Ellis, Jeremy Jordan's new Broadway show, Tammy Faye closing and more.Having trained at the Royal Academy of Music, 2024 has been a big year for Tamara! She made her professional debut playing Alicia and understudying Amara in the premiere of Just For One Day: The Live Aid Musical at the Old Vic.Tamara just spent her summer at the Eventim Apollo playing Gingy in Shrek The Musical. Follow Tamara on Instagram: @tamaratare This podcast is hosted by Andrew Tomlins. @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.   

Faraz trained at the acclaimed Nottingham TV Workshop, which has produced some of the UK's finest acting talent including Samantha Morton, Jack O'Connell and Vicky McClure.He is a series regular in the Channel 4 drama SCREW playing ‘Ali', created by Rob Williams and directed by Tom Vaughan. Described by The Guardian as a “warm, witty welcome to hell…an impeccably observed show,” the darkly comic drama follows the lives of a group of prison officers and shows us what life is like on the wing.Faraz also takes the lead role of ‘Adam' in the upcoming BFI/Film4 feature SKY PEALS. Coming to terms with the death of his estranged father and experiencing strange and unexplainable black outs, Adam tries to piece together the complicated and secret life his father led while trying to discover who he really is.Other work includes new Apple show SUSPICION, playing ‘Ajay Kapoor', and the feature film WHAT'S LOVE GOT TO DO WITH IT? for Working Title Films. Faraz was a participant in the BAFTA Elevate scheme 2020. Other recent credits include: THE CAPTURE (BBC), GIRI/HAJI (BBC2), BODYGUARD (BBC/Netflix) and season three of Channel 4 drama ACKLEY BRIDGE.In theatre, he has appeared in The Old Vic and Underbelly's Edinburgh Fringe production of ONE HOUR ONLY, THE GREAT EXTENSION (Theatre Royal Stratford East) and CAN YOU KEEP A SECRET (Nottingham Playhouse)

Monty Python star and king of the travel documentary Michael Palin has just published the fourth volume of his best-selling diaries. In 'There and Back' he covers the years 1999-2009. He joins Clive to talk about how the 21st Century has treated him.The actor and Call The Midwife star Jessica Raine is soon to return to our screens in the second series of 'The Devil's Hour' where she plays Lucy Chambers, the insomniac social worker who wakes every night at 3.33am.Susan Wokoma has just finished playing Charlotte in Tom Stoppard's The Real Thing at the Old Vic and she will soon be back as Fola in the BBC drama Cheaters, which starts its second series later this month.The WAEVE are a collaboration between Blur guitarist Graham Coxon and singer-songwriter Rose Elinor Dougall. They perform a track from their new album City Lights.And there's more music from the London based Jazz musican Ashley Henry who has just released his sophmore album 'Who We Are'Presenter: Clive Anderson Producer: Jessica Treen

Episode 085: The Real Thing by Tom Stoppard Host: Douglas Schatz Guest: Mark Lawson 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. Tom Stoppard is renowned for his intellectual wit and playful dramatic form, both of which are certainly on show in The Real Thing, but the play also explores more personal emotional territory: on what constitutes the real thing in love, politics and art. As we record this episode, a new production of the play is on stage at the Old Vic theatre in London. My guest to help us navigate the romantic entanglements and structural twists in the play is the renowned arts journalist, Mark Lawson.

Olivia Daniels is a Canadian performer, director and producer. She holds a BFA in Drama from New York University's Tisch School of the Arts, where they studied at Playwrights Horizons Theatre School and The New Studio on Broadway. Olivia also holds a minor in Philosophy. At the beginning of the COVID-19 pandemic, they co-founded Artists in Residence, a theatrical platform supporting artists' mental health by providing opportunities for connection and social engagement.  Driven by a love of collaboration and community building, they worked to create spaces where artists feel supported, seen, and respected for their individuality. With every new project, striving to embody a spirit of openness, discovery, and joy!  Ilana Khanin is a director of experimental new plays and musicals. Her work has been developed and presented at Ars Nova ANT Fest, Prelude, HERE Arts Center, New Ohio, Judson, Governors Island, The Tank, The Brick, Primary Stages, Theaterlab, Dixon Place, Samuel French Festival, and the Center at West Park. Artist-in-residence at Montclair State University New Works Initiative (2019-2020), and the Baryshnikov Arts Center (2023). She has worked as an associate director for Lila Neugebauer, Annie-B Parson, and Lee Sunday Evans at venues including Playwrights Horizons, Playmakers Rep, Abrons Arts Centre, and Carolina Performing Arts. Associate Artist with Big Dance Theater (BAM, London's Old Vic, Berlin's Deutsches Theater, among other venues). Her work has been supported by the Canada Council for the Arts, the Toronto Arts Council, and the Puffin Foundation. BFA and MA: NYU. PhD candidate: University of Toronto. I Was Unbecoming Then In a high school music room in North Vancouver, twelve teenage girls assemble to practice and perfect their parts, desperate to please Bruce, the choir director.As with any group of girls -As with any choir -They are constantly listening to each otherTuning and re-tuningAdjusting to each other's movements, sounds, and rhythmsFinding dissonance and harmony.I Was Unbecoming Then is an intimate new musical mixing hormones and harmonies.

Sarah sits down for a wide-ranging conversation with James McArdle, currently starring in The Real Thing at the Old Vic. He talks about returning to the stage, his new film, playing opposite Saoirse Ronan as the Macbeths, what he learnt from Kate Winslet - and why an actor should always be able to make you laugh. Plus a radical idea to help regional theatre. Hosted on Acast. See acast.com/privacy for more information.

The Real Thing is a play within a play currently on stage at the Old Vic in London. It encourages the audience to question why we fall in love, what is fact and what is fiction. And can we can ever really know if the love we are experiencing is the real thing? Actors Susan Wokoma and Bel Powley star in the production and join Nuala in the Woman's Hour studio to discuss.Over the summer Woman's Hour is taking a deep dive into the world of “genre” fiction and today we are entering the gripping and shady world of spy fiction and thrillers. Ava Glass joins Nuala to discuss her new spy novel The Trap. She is joined by Charlotte Philby, author and granddaughter of infamous double-agent Kim Philby, who has also written books about spies but her latest The End of Summer falls firmly in the thriller genre.Omulbanin Sultani was studying medicine at Kateb University in Kabul when the Taliban banned women from universities in 2022. Last week, she arrived in Scotland, along with eighteen other female medical students from Afghanistan to complete their doctor training. The move - organised by the Linda Norgrove Foundation - took three years. Nuala speaks to Omulbanin, who is now a student at the University of St Andrews.Quizzer Jenny Ryan – better known as the Bolton brainbox ‘The Vixen' on the hit ITV quiz The Chase – is breaking away from teatime telly to invite audiences to an evening of song, storytelling and showbiz secrets. She joins Nuala to talk about her passion for quizzing, her cabaret show, Jenny Ryan: Out Of The Box, and to sing live.Presenter: Nuala McGovern Producer: Laura Northedge

Nicola T. Chang is an award-winning composer/sound designer for stage and screen from Hong Kong, now currently based in London. She was the Composer/Sound Designer on the 2020/21 Old Vic 12 and a co-winner of the Evening Standard Future Theatre Fund (Audio Design) in 2021. She started her theatre career in performance, having performed in STOMP! West End and Six the Musical, and continues to perform alongside her composition and sound design work. Most recent theatre credits as composer/sound designer include For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy (Apollo Theatre/Royal Court Jerwood Downstairs/New Diorama), My Neighbour Totoro (RSC/Barbican) and Kerry Jackson (National Theatre

National treasure James Corden pops by with news of starring in The Constituent at the Old Vic and updates on the final ever episode of Gavin and Stacey!Join Chris, Vassos and the team every weekday for laughs with the listeners, the greatest guests, and a pinch of the papers. Hosted on Acast. See acast.com/privacy for more information.

In a week of shock substitutions Alex and Sarah talk about James Corden at the Old Vic, Justine Mitchell at the Almeida and the way that history of theatre is filled with understudies who become the star. Hosted on Acast. See acast.com/privacy for more information.

Over the weekend, James Corden made headlines for delaying the start of a West End play in which he is appearing, in order to watch a football match with the audience... or did he?Corden is currently starring in The Constituent at the Old Vic and although this is how the news was reported, it is being interpreted a little inaccurately, and today we're going to clear up the truth behind the outrage.Comment down below with all of your thoughts!•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 70,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. 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. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

Ethical non-monogamy, platonic friendships and TikTok dating coaches: we get into all manner of divisive topics this week, huns, before a big old debate on North West, who has recently reignited the nepo-baby conversation with her controversial performance as Simba in the Lion King. Should adults be critiquing a child on the internet? And how does Kim and Kanye's parenting approach figure? Speaking of, the Kardashians have returned to Disney for a new season and the elephant in the room is Ozempic. From Kylie and Kims' shrinking frames, to scenes blatantly showing Wegovy in Scott Dissick's fridge – are they now knowingly positioning themselves as the poster family for weight loss drugs? And how do we as a society navigate the glamorisation of Ozempic; can the benefits really outweigh the side effects? Next is a look at Will Smith's upcoming comeback, why Brad Pitt's daughter is dropping his surname and, finally, a review of the new Netflix series everyone's talking about, Eric, starring Benedict Cumberbatch as Vincent, a puppeteer in 1980s New York whose nine-year-old son goes missing. Is Eric the most divisive show of 2024?  DM us your thoughts on Instagram @straightuppod, and let us know what you'd like us to cover next week! And as ever please leave us a review on Apple Podcasts, a rating on Spotify, lysm! Thanks so much to our amazing partner London Nootropics, our fave adaptogenic coffee that naturally actually boosts mental clarity and physical energy, while also easing anxiety, all without any of coffee's usual jitters. We are obsessed and you will be too! Get 20% OFF YOUR BOX with the DISCOUNT CODE straightup at⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠londonnootropics.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Reccos discussed: Sentimental Garbage, Caroline O'Donoghue  Aubrey Marcus on the dark side of open relationships, Diary of a CEO  Where Have All My Guy Friends Gone? The Cut Gone Girl (the ‘cool girl' monologue) The Case for Marrying an Older Man by Grazie Sophia Christie, The Cut The Cult of the Provider Man, The Cut  The Kardashians Season Five on Disney + Magic Pill: The Extraordinary Benefits and Disturbing Risks of the New Weight-Loss Drugs by Johann Hari Our review of Jada Pinkett's memoir (19 Oct 2023 episode) Eric, Netflix Eric review – Benedict Cumberbatch will win awards for this wildly ambitious drama, The Guardian Eric review: Benedict Cumberbatch excels as a weirdo in dark, misanthropic missing-child drama, The Independent Eric Shows Everything That's Wrong With Mid TV, The Atlantic  Dark Days (2000 documentary film)  Machinal at The Old Vic

What a Creep: Morgan Spurlock (Complicated Creep)& Kevin Spacey (Update and Replay)Season 25, Episode 3Kevin Spacey is a name that might be synonymous with some of your favorite movies from the 1990s, such as Swimming with Sharks, The Usual Suspects, Se7en, LA Confidential, A Time To Kill, and American Beauty. A man who has not only won two Oscars, multiple Golden Globes, Screen Actors Guild awards, and critic awards but has also been a celebrated figure in the entertainment industry. He plays creeps well, but it turns out it wasn't acting. More than 30 people have accused him of sexual harassment and sexual assault. What a creep!In this update, we discuss the new two-part documentary on Max, “Spacey Unmasked,” which includes eight additional accusations from men not covered in the 30-plus accusations discussed in our episode. They include someone Spacey assaulted in high school, an extra who worked on the set of House of Cards, an employee at the Old Vic, and several students who met him through programs at Julliard and the Old Vic theater.But first, we talk about the death of Morgan Spurlock and his complicated legacyhttps://www.yahoo.com/entertainment/documentary-filmmaker-morgan-spurlock-skewered-141233256.htmlSources for this episode: The Daily MailThe TelegraphVoxBuzzfeedNew York TimesNew York TimesBBCHollywood ReporterThe Daily MailCNNABC NewsNBC NewsThe Daily BeastLA MagazineNew York MagazineSpacey Unmasked on MAXBiographyWikipediaTrigger warnings: Sexual harassment and sexual assault. Be sure to follow us on social media. But don't follow us too closely … don't be a creep about it! Subscribe to us on Apple PodcastsTwitter: https://twitter.com/CreepPod @CreepPodFacebook: Join the private group! Instagram @WhatACreepPodcastVisit our Patreon page: https://www.patreon.com/whatacreepEmail: WhatACreepPodcast@gmail.com We've got merch here! https://whatacreeppodcast.threadless.com/#Our website is www.whatacreeppodcast.com Our logo was created by Claudia Gomez-Rodriguez. Follow her on Instagram @ClaudInCloud

Nancy and Sarah discuss terrific new productions of Love's Labour's Lost at the Royal Shakespeare Company and Machinal at the Old Vic and Nancy reveals the secrets of memorising long parts - and why the writers whose words are hard to learn aren't always the ones that you'd expect. Hosted on Acast. See acast.com/privacy for more information.

This week, Ruth Wilson explains why she's running this year's London Marathon for an Alzheimer's research, following in the footsteps of her father who ran the first London Marathon in 1981.Tuesday was the deadline to register to vote in the local elections on May 2nd. The most recent data suggest that 4.3 million young people in England aren't currently registered. We hear from Sharon Gaffka, who's supporting the Give an X campaign, that's calling on young people to get involved. A survey by the youth led charity My Life My Say also says that fewer than 1 in 6 of young women trust politicians and more than four in 10 believe their vote won't make a difference in an election. We also hear from Rosie Campbell, Professor of Politics and Director of the Global Institute for Women's Leadership at King's College London, to explain the trends behind the latest data.Social media platform Meta disabled Soul Sisters Pakistan for 43 hours earlier this month due to an intellectual property violation. Soul Sisters Pakistan was set up 11 years ago by the entrepreneur and activist Kanwal Ahmed as a support system for women to discuss topics considered taboo in Pakistani society, such as sex and divorce. In the past, the group has been accused by some of promoting divorce and 'wild' behaviour. With over 300,000 members, who dub themselves soulies, In 1927 journalist Sophie Treadwell attended the sensational trial of Ruth Snyder, a New York woman accused murdering her husband. Ruth was found guilty, along with her accomplice lover Henry Judd Gray, and both were executed by electric chair in January 1928. Those events inspired Sophie Treadwell to write the play Machinal, which premiered on Broadway later that year. A recent production has just transferred from the Theatre Royal Bath to the Old Vic in London and its star, Rosie Sheehy, along with US academic Dr Jessie Ramey join Jessica to discuss the case of Ruth Snyder and why Machinal still resonates with audiences today.Professor Netta Weinstein of the University of Reading, is the co-author of a new book, Solitude: The Science and Power of Being Alone and joins us to discuss the benefits of solitude.Jing Lusi stars as DC Hana Li in ITV's new thriller Red Eye, set on a plane flying between London and Beijing. She joins Jessica Creighton to talk about what it's like to play a lead role for the first time, and how important it is to see British East Asian women as the main progatonistPresenter Anita Rani Producer Annette Wells

Deborah Snyder has produced some of the biggest blockbusters and action franchises in the last decade including Wonder Woman, 300 and Watchmen. Her newest work, Rebel Moon - Part Two: The Scargiver arrives on Netflix this week. It's the second instalment of the Rebel Moon series, a space opera set in a fictional galaxy with a female protagonist. Deborah produced it alongside her husband and long-term creative collaborator, director Zack Snyder. She joins Jessica Creighton live in the studio.Today is the deadline to register to vote in the local elections on May 2nd. The most recent data suggest that 4.3 million young people in England aren't currently registered. Jessica speaks to Sharon Gaffka, who's supporting the Give an X campaign, calling on young people to get involved. A survey by the youth led charity My Life My Say also says that fewer than 1 in 6 of young women trust politicians and more than four in 10 believe their vote won't make a difference in an election. Professor of Politics and Director of the Global Institute for Women's Leadership at King's College London will join Jessica to explain the trends behind the latest data. In 1927 journalist Sophie Treadwell attended the sensational trial of Ruth Snyder, a New York woman accused murdering her husband. Ruth was found guilty, along with her accomplice lover Henry Judd Gray, and both were executed by electric chair in January 1928. Those events inspired Sophie Treadwell to write the play Machinal, which premiered on Broadway later that year. A recent production has just transferred from the Theatre Royal Bath to the Old Vic in London and its star, Rosie Sheehy, along with US academic Dr Jessie Ramey join Jessica to discuss the case of Ruth Snyder and why Machinal still resonates with audiences today.

Sharon Rose is preparing to star as Anna in Love Steps at the Omnibus Theatre in Clapham. Written and directed by Anastasia Osei-Kuffour, Love Steps is a dynamic fusion of drama, poetry, dance and music. Sharon most recently starred as the title role in Sylvia at the Old Vic following her celebrated run as Eliza in the West End production of Hamilton. Sharon made her West End debut in Beautiful: The Carole King Musical (Aldwych Theatre). Her other credits include: understudy Diana in Motown The Musical (Shaftesbury Theatre) and Radio 1 in Caroline Or Change (Hampstead Theatre). She originally joined Hamilton during the first year of its run at the Victoria Palace Theatre as a standby for Eliza/Peggy/Angelica, before later taking over as Eliza full-time. Sharon made her big screen debut as Joanne Jangle in Jingle Jangle: A Christmas Journey for Netflix, directed by David E. Talbert. She has also appeared in Silent Witness (BBC) and The Colour of My Room (Cleo Films). In this episode Sharon discusses stepping outside of her comfort zone with Love Steps, what big decisions she has made to change the direction of her career and why Sylvia was such a special chapter... plus lots more! Love Steps runs at the Omnibus Theatre 3rd - 20th April. Visit www.omnibus-clapham.org for info and tickets. Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Join Jonny in the Old Vic dressing room of one our finest - and most fragrant - actors, Bertie Carvel. Bertie is a double Olivier and Tony Award winning star and as deep a thinker about his life in the theatre as he is a transformational chameleon onstage. He and Jonny share a forensic discussion about larping, the inner body, Bertie's magic trick, why he now reads his reviews (and why he thinks acting companies should hold post-review therapy sessions), wanting the play to end just after you've opened, what it felt like to play Donald Trump and doing 652 performances of Missy Trunchbull in “Matilda”. This really is a conversation that captures what it sounds like to hear a great actor in the awkward and exhilarating throes of creativity. He's also the first guest to use the word “shriven”. Hosted on Acast. See acast.com/privacy for more information.

On this week's show, I'm speaking to Dina Nayeri about the truth. In a growing age of false news, propoganda, smear campaigns and cancel culture, the sanctity of the truth and who gets believed is increasingly important. There is a difference between those who speak the truth, and those whose truth is believed, as sometimes it is the case that those who speak their truth are not believed, and the consequences are dire. We have seen this play out worldwide for centuries for women, refugees, people of colour and black people, among other minority and vulnerable groups especially. On this week's show, we unpack why some people are more believable than others, the role of the media, and the state's eagerness to push out certain narratives, even if they are not true. This has especially been the case recently since the increased attacks on Gaza, where news outlets have recalled harmful and incorrect statements. Dina Nayeri is the author of two novels and two books of creative nonfiction, Who Gets Believed? (2023) and The Ungrateful Refugee (2019), winner of the Geschwister Scholl Preis and finalist for the Los Angeles Times Book Prize, the Kirkus Prize, and Elle Grand Prix des Lectrices, and called by The Guardian “a work of astonishing, insistent importance.” Her essay of the same name was one of The Guardian's most widely read long reads in 2017, and is taught in schools and anthologized around the world. A 2019-2020 Fellow at the Columbia Institute for Ideas and Imagination in Paris, and winner of the 2018 UNESCO City of Literature Paul Engle Prize, Dina has won a National Endowment for the Arts literature grant, the O. Henry Prize, and Best American Short Stories, among other honors. Her work has been published in 20+ countries and in The New York Times, The Guardian, The Washington Post, The New Yorker, Granta, and many other publications.  Her short dramas have been produced by the English Touring Theatre and The Old Vic in London.  She is a graduate of Princeton, Harvard, and the Iowa Writers Workshop.  In autumn 2021, she was a Fellow at the American Library in Paris. She is currently working on plays, screenplays, and her upcoming publications include The Waiting Place, a nonfiction children's book about refugee camp, Who Gets Believed, a creative nonfiction book, and Sitting Bird, a novel. She has recently joined the faculty at the University of St. Andrews. If you enjoyed this episode, please subscribe and consider rating and leaving a review. Also, connect with me on social media - I'd love to hear from you!www.instagram.com/readwithsamiawww.instagram.com/thediversebookshelfpod Support the show

Dame Judi Dench reflects on her career playing Shakespearean roles on stage and screen across seven decades. Judi Dench has spent her career bringing to life a hugely diverse array of characters. But she is, first and foremost, one of the greatest classical actors of our times. Her love of the work of William Shakespeare and the insight she has gained into his plays over the course of her career is explored in her new book The Man Who Pays The Rent, written with actor and director Brendan O'Hea. In a special edition of This Cultural Life to mark the 400th anniversary of the publication of the First Folio in a BBC season of programmes celebrating Shakespeare, Dame Judi talks to John Wilson at her home in Surrey. With intimate insights into her relationship with the work of William Shakespeare, she recalls her pivotal experiences and influences that helped steer her career as one of Britain's greatest classical actors. After seeing her older brother act in a school production of Macbeth, she knew Shakespeare was for her. She remembers her very first professional stage role, playing Ophelia in an Old Vic production of Hamlet in 1957. Despite bad reviews and losing the role when the production went on tour, she was undeterred. Joining the RSC, she worked her way through many of Shakespeare's plays, including a landmark production of Macbeth in 1976, directed by Trevor Nunn. Dame Judi recalls her Olivier award-winning performance of Lady Macbeth opposite Ian McKellen, and her later role of Cleopatra opposite Anthony Hopkins in 1987 at the National Theatre. Remembering her last stage appearance in a Shakespeare play, she discusses her dual roles of Paulina and Time in A Winter's Tale, and how her degenerative eyesight condition affected her performance. Producer: Edwina Pitman

Episode 068: Pygmalion by George Bernard Shaw Host: Douglas Schatz Guests: Ivan Wise 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. Pygmalion is arguably George Bernard Shaw's most famous play, partly because it spawned the even-more famous musical My Fair Lady. The enduring popularity of the play can be attributed to the romantic arc of its central story, and to the fact that it offers two iconic parts in the characters of Eliza Doolittle and Henry Higgins. As a new production of Pygmalion opens at The Old Vic in London, Ivan Wise returns to the podcast to help us assess whether Shaw's charming social parable remains as entertaining or as relevant more than a century after it was written.

The actor Patsy Ferran talks to Samira about her transformation from flower girl (with some autonomy) to duchess (with none at all) in Pygmalion at the Old Vic, and a career in which she transformed from Edith, the maid in Blithe Spirit with Angela Lansbury to Blanche DuBois in A Streetcar Named Desire with Paul Mescal, via Jem in Treasure Island. “Rubenesque” has long evoked a voluptuous image of female nudity in art, but a new exhibition at the Dulwich Picture Gallery seeks to explore the complex relationship between Peter Paul Rubens and the women in his life. Co-curator Amy Orrock and critic Louisa Buck discuss how they influenced, and in many cases financially supported, the 17th century Flemish painter. And as Netflix airs the fifth and final series of ‘Top Boy', which first appeared on Channel 4 starring Ashley Waters, Clive Nwonka, author of ‘Black Boys The Social Aesthetics of British Urban Film' and film critic Leila Latif discuss representations of black urban culture on screen. Presenter: Samira Ahmed Producer: Nicki Paxman

Coming to you with some really sad news today. RIP Michael Gambon AKA Dumbledore. Earlier on I read that Michael Gambon, who famously played Albus Dumbledore for the majority of the Harry Potter films, has passed away at the age of 82. “We are devastated to announce the loss of Sir Michael Gambon,” said the statement issued on behalf of his wife, Anne, and son Fergus by publicist Clair Dobbs. It added that he “died peacefully in hospital” after a bout of pneumonia with the pair at his bedside. His family also added: … “We ask that you respect our privacy at this painful time and thank you for your messages of support and love,”  … For those unaware, Gambon took over the role of Dumbledore after the death of Richard Harris, who portrayed the wise old wizard in the Philosopher's Stone and Chamber of Secrets. And take over the role he certainly did- and while the two men may have portrayed Dumbledore in their own unique ways, both were incredibly effective. Leaving their mark on the Harry Potter franchise for all of eternity. Born on October 19, 1940, in Dublin, Ireland, Michael Gambon showed an early inclination towards the arts. He left school at the age of 15 and went on to become a successful engineer. However, the allure of the theater proved irresistible, and Gambon soon embarked on a professional acting career. He joined the prestigious National Theatre in London's Old Vic as one of its founding members in 1962. Collaborating with legendary figures like Laurence Olivier, Derek Jacobi, and Maggie Smith, Gambon developed his craft and gained prominence on the stage. Throughout his illustrious career, Gambon amassed numerous awards and honors. He received three Olivier Awards and two Critics' Circle Theatre Awards for his remarkable stage performances. On the screen, Gambon was honored with four British Academy of Film and Television Arts awards. Additionally, he won two ensemble cast Screen Actors Guild Awards for his roles in "Gosford Park" and "The King's Speech." In 1998, Gambon was knighted for his immense contributions to the world of drama. But it wasn't just contributions to the world of Drama that Gambon deserved to be knighted for. I think I can speak for everyone when I say that Gambon played an integral part of so many people's childhoods- bringing the iconic role of Dumbledore to life. It's tough getting older and seeing our childhood heroes passing away, but just like Hagrid and Robbie Coltrane- Gambon's contributions to the world of theatre will live forever. Learn more about your ad choices. Visit megaphone.fm/adchoices

That's right, woodchuck-checkers, it's Groundhog Day Day! The sensational musical adaptation of the beloved Harold Ramis-Bill Murray comedy is now back on the London stage at The Old Vic, and in this interview special Chris Hewitt sits down with Danny Rubin, writer of the original movie and the book for the musical, Tim Minchin, the mastermind behind the music and lyrics, and director Matthew Warchus, to talk about taking another bite of the cherry, the songs of the musical, its ill-fated Broadway stint, and much, much more. Enjoy.