Podcasts about West End

Hazel Baker hosts a special bonus edition of the London History Podcast celebrating over 500,000 streams and downloads and continuing a “London's firsts” theme with a slightly harder, play-along quiz. Listeners get 12 questions with 15 seconds to think, then the show shares the answer and a short story behind each landmark “first,” spanning Norman and medieval London through the Georgian era and beyond. The topics range across royal power, religion, law, theatre, newspapers and magazines, West End planning, docks and trade, botanic gardens, and public art exhibitions. Hazel invites listeners to keep score, compare results with the first bonus quiz, share the podcast, and send in scores via Spotify Q&A or social media.

The 50th anniversary of the Rocky Horror Picture Show last year reignited everyone's nostagia for the classic zany musical. And that's just as well, because now the stage production is returning, too. The international production featuring a West End cast will be running in Auckland, Christchurch and Wellington from now unil the end of March. To celebrate, one very special member of the Rocky Horror family is here, Nell Campbell, the original Columbia is in New Zealand and joins Jesse.

RHLSTP #600 - Paul Hollywood Hand Shandy - Richard returns to the Leicester Comedy Festival and news has broken of his upcoming appearance on Bake Off and his starring role in a (slightly) off-West End play. His guest is the feisty, slightly scary, but soft-hearted Fatiha El-Ghorri. They talk about whether she got close to marrying Greg on Taskmaster, her fantasic comedy pilot Donkey https://www.youtube.com/watch?v=h3RJwtzKk2A, how and why Rich and Fatiha struck up a very close friendship on a recent secret TV appearance which won't do either of their reputations any good, Fatiha's new tour and why she sometimes does clean versions of the show, ghosts, learning lines, celebrities in the audience and going public with personal news.See Fatiha on tour https://www.ents24.com/uk/tour-dates/fatiha-el-ghorriSUPPORT THE SHOW!See details of the RHLSTP LIVE DATES Watch our TWITCH CHANNELBecome a badger and see extra content at our WEBSITE Buy DVDs and books from GO FASTER STRIPE Hosted on Acast. See acast.com/privacy for more information.

This week I welcomed actor, musician, director and educator George Ure to the BrawBrave Clan! Treading the boards from an early age, George's first professional job straight out of training was playing Boq in Wicked on the West End! Teaching at the prestigious URDANG Academy in London for a number of years, George returned to the West End stage more recently starting as Midge Ure in Just For One Day: The Live Aid Musical! An incredibly talented creative on and off stage, George is hugely passionate about the world of the arts and sharing his knowledge and experiences with others to support and inspire! This episode is supports by: This episode is supported by: 1. Scottish Vocal Coach. Angela's Instagram https://www.instagram.com/scottish_vocal_coach?igsh=ZXp2azczcG13YTFk Contact Angela: ‪+44 7849 012649‬ 2. SODA (Studio One Dramatic Arts) Website link: https://studio1drama.org Socials: @studio1_drama “If you're looking for a place where creativity, confidence, and community come together — you've just found it. At SODA (Studio One Dramatic Arts), we offer fun, inclusive drama and musical theatre training for kids. More than a performing arts school, SODA is a space where young people are encouraged to express themselves, build confidence, and feel supported every step of the way. Perfection isn't our goal — joy is. We believe in trying new things, making lasting friendships, and helping every student discover what makes them shine.” Follow The Braw and The Brave Website: https://www.thebrawandthebrave.com/ YouTube: https://www.youtube.com/@TheBrawandTheBrave TikTok: https://www.tiktok.com/@thebrawandthebrave Instagram: https://www.instagram.com/thebrawandthebravepodcast/ Facebook: https://www.facebook.com/TheBrawandTheBrave

I teach people how to monetise their own home! Register for my next FREE webinar here - https://us06web.zoom.us/meeting/register/h15hgvyqQYmHk4GFjlaTAg In this episode, Neil Harvey shares his expert insights on how to de-risk your hosting business by building multiple income streams. He explains how to focus on predictability over simple occupancy by cultivating different types of guests, including Airbnb travelers, long-term regulars, and corporate trainees. Neil also discusses the importance of building authentic relationships and maintaining integrity with guests, illustrating his points with personal stories from his ten years of experience as an Airbnb Superhost. KEY TAKEAWAYS Don't rely solely on one platform or one type of guest. Aim for a consistent, reliable income rather than just high occupancy. Create a ‘home from home' atmosphere where guests feel genuinely cared for. Going the extra mile can lead to strong, long-lasting business relationships. Be fair and transparent with your guests, especially regarding cancellation policies. BEST MOMENTS "The best way to de-risk any business is to build multiple income streams." "I don't obsess over occupancy; I obsess over predictability." "If people genuinely felt cared for, the money would follow." "Stop chasing bookings; start engineering predictable ones." "Predictability does not come from the booking platforms; it comes from relationships." CONTACT DETAILS Visit Neil's Airbnb https://bit.ly/SuperhostNeil Instagram: https://www.instagram.com/superhostneil/ Facebook: https://www.facebook.com/SuperhostNeil TikTok: https://www.tiktok.com/@superhostneil Email: SuperhostNeil@gmail.com ABOUT THE HOST Neil has led a fulfilled and unconventional life, navigating an extraordinary journey from the Royal Navy to prop-making in London's West End theatres. Born into a military family, it was a twist of fate which led him to the theatre, where he contributed to iconic productions such as Phantom of the Opera. Eventually, Neil transitioned to Corporate Event Team Building, eventually founding his own venture in 1999. Financial challenges in 2017 are what prompted a strategic shift to Airbnb hosting, proving a reliable backup income. By 2021, Neil and his business partner triumphed over significant debt, fuelled by their resilience and the success of Neil's Airbnb venture. Now, Neil has left the corporate world behind, thriving solely through his flourishing Airbnb endeavours. Disclaimer: The Airbnb Superhost is in no way affiliated with Airbnb. All ideas, thoughts, concepts and data presented in this podcast are entirely Neil's own and do not represent the views of Airbnb.

Join screenwriter Stuart Wright as he dives into movies that changed your life with film producer Daisy Allsop, in this engaging episode of 3 Films That Have Impacted Everything In Your Adult Life. Explore Dances With Wolves's impact, The Terminator analysis, and True Romance's influence on her personal growth and cinema's transformative power. Daisy Allsop also discusses the making of her first documentary OTTO BAXTER: NOT A FUCKING HORROR STORY and the short film THE PUPPET ASYLUM - directed by Otto Baxter within the making of this documentary. Movies That Changed Your Life   Find out about Daisy Allsop producing her first documentary first documentary OTTO BAXTER: NOT A FUCKING HORROR STORY and the lasting impact of cinema with Stuart Wright on his movie podcast.   [1:20] OTTO BAXTER: NOT A FUCKING HORROR STORY 3 Films That Have Impacted Everything In Your Adult Life Dances With Wolves impact  [19:55] Daisy Allsop says Dances With Wolves is an early memory of going to the cinema with her father and how it felt like a big event to go up to the West End, from Wimbledon.  The Terminator analysis [24:45] Daisy Allsop says she does not how many times she watch The Terminator. It was one of many films her father had recorded off of TV. They were stored on VHS shelving he had made in the hallway with titles on their spines, alphabetised.  True Romance Influence   [29:58] Daisy Allsop says True Romance is officially the film that made her want to work in film. Key Take Aways:   Discover how movies that changed your life shape personal and professional growth. Learn about how Daisy Allsop produced her first documentary OTTO BAXTER: NOT A FUCKING HORROR STORY. Understand cinema's transformative power through Dances With Wolves (1990), The Terminator (1984), True Romance (1993) About the Guest:   Daisy Allsop is ap producer known for Otto Baxter: Not a Fucking Horror Story (2023) and Tell It to the Bees (2018). Otto Baxter: Not a Fucking Horror Story is available to watch in the UK on NOW TV   Subscribe on Apple Podcasts, follow on Spotify or wherever you listen to your podcasts for more movies that impacted your life!  Share your favourite movies that impacted your life on X (@leytonrocks) and leave a 5-star review and tell us which 3 films impacted your adult life. Best ones get read out on the podcast. Credits:   Intro/Outro music: *Rocking The Stew* by Tokyo Dragons (https://www.instagram.com/slomaxster/)  Written, produced, and hosted by Stuart Wright for [Britflicks.com](https://www.britflicks.com/britflicks-podcast/)   Learn more about your ad choices. Visit megaphone.fm/adchoices

Sam Tutty is an Olivier Award winning actor and singer. Following his graduation from drama school he originated the role of Evan in the Tony Award Winning Musical, DEAR EVAN HANSEN, in the West End. His performance garnered widespread acclaim from critics, eventually going on to receive numerous awards, including Best Actor in a Leading Role in a Musical at the WhatsOnStage Awards, Most Promising Newcomer at the Critics' Circle Theatre Awards and a Laurence Olivier Award for Best Actor in Leading Role in a Musical in 2020. Being aged 22 at the time, he is one of the youngest winners of this prestigious theatrical award in history. Following its sell-out run at The Kiln Theatre, Sam transferred the role Dougal in the new two-hander musical ‘TWO STRANGERS' to the Criterion Theatre in the West End, directed and choreographed by Tim Jackson. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hr 1 - USA takes hockey from Canada + Vols win on West EndSee omnystudio.com/listener for privacy information.

Hr 1 - USA takes hockey from Canada + Vols win on West EndSee omnystudio.com/listener for privacy information.

Ntombizodwa Ndlovu is starring as Marie Knight in Marie and Rosetta.Written by George Brant and directed by Monique Touko, Marie and Rosetta premiered last year at the Rose Theatre in Kingston ahead of a short tour. The production is now transferring to the West End for a limited run at @SohoPlace. Ntombizodwa stars alongside Beverley Knight as Rosetta Tharpe.Ntombizodwa has worked extensively in Manchester, with some of her theatre credits including Blithe Spirit at Hope Mill and Cat On A Hot Tin Roof at the Royal Exchange. For her performance as Marie, Ntombizodwa received a UK theatre award nomination for Best Supporting Actor and the show's upcoming run marks her West End debut. In this episode Ntombizodwa explains why Marie and Rosetta is a huge moment and what it means to her. She also discusses why she fell in love with the play, how Beverley Knight has taken her under her wing and her journey in theatre so far. Marie & Rosetta runs @SohoPlace 28th February – 11th April 2026. Visit www.sohoplace.org 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.

Erica is the founder of  Stage Door Tours, your ticket to the incredible magic of the West End! Get ready for an unforgettable adventure with our specialised and enthusiastic guides as they share backstage stories, the thrilling history of London's iconic theatres and uncover hidden gems. Whether you're a die-hard theatre fan or gearing up for an exciting musical experience, our tours are bursting with captivating stories just waiting to be discovered. Book your tour today and dive into the vibrant heart of London's theatrical world!Website

Wir waren wirklich naiv zu glauben das man mit diesem Kader um den Aufstieg spielt. Anton und Alex gehen rein in die schonungslose Analyse. Ha Ho He ihr Mäuse

Send a textAfter the recent opening of Man and Boy in the Dorfman Theatre, National Theatre, Laurie Kynaston sat down with us to talk about this rare revival, working with director Anthony Lau on this new production and sharing the stage with acting legends Ben Daniels and Malcolm Sinclair. Our discussion delves into the contemporary revival of Terence Rattigan's plays and the reasons his character-driven stories remain relevant to modern audiences. Laurie himself made his debut in another Rattigan play: The Winslow Boy and tells us about the full-circle elements of his turn in this latest project. details the history of Man and Boy, noting its initial lack of success , and describes his first impressions of the script and the character of Basil Anthony. The conversation also addresses the technical challenges of performing in the round and the spatial awareness required to remain visible to a surrounding audience. Additionally, the interview examines Kynaston's history of portraying strained father-son dynamics , covering the emotional weight of The Son and the logistical process of joining the cast of Long Day's Journey Into Night on short notice.In our new interview with Laurie Kynaston, he shares his personal outlook on the industry and reflections on his career progression. He addresses the socio-economic barriers currently facing the theatre, specifically the issues of rising ticket prices and classism. We hear him reflect on his own beginnings at Theatr Clwyd in North Wales, while expressing concern that potential audiences are being priced out of the arts. As he transitions into more prominent leading roles, he shares his optimism about the future as well as his gratitude to being welcomed in certain circles in the theatre world. It's a truly endearing conversation and as Laurie continues through his 30s, we look forward to seeing his shift from younger male parts to mature roles that reflect his already wise worldview.Man and Boy runs at Dorfman Theatre, National Theatre until 14 March.

Rosamund Pike, the Emmy and Golden Globe winner, is known for standout roles in Saltburn, her Oscar nominated lead in Gone Girl, and Made in Dagenham. Next month she stars on the West End stage, coming back to the role of Jessica Parks, the maverick judge at the heart of the National Theatre's hit play Inter Alia, also filmed for NT Live screenings. She joined Anita Rani to discuss her role that explores motherhood, masculinity and the complexities of justice.It's more than a decade since Nadiya Hussain became a household name after winning the Great British Bake Off. Since then, she's fronted her own cookery shows, written more than a dozen cookbooks and a series of children's books. Her latest collection of recipes is called Quick Comforts, and Nadiya joined presenter Clare McDonnell to talk about finding comfort in food, her career so far and lots more.In December 2024, Dominque Pelicot and 46 other men were found guilty of the aggravated rape of his wife Gisèle. Another two were found guilty of attempted rape and a further two were found guilty of sexual assault. Dominque had drugged Gisèle with medication without her knowledge, raped her and invited other men to rape her, filming as they did so. At least another 20 men who took part in these rapes could not be identified. Waving her right to anonymity, Gisèle Pelicot declared that shame has to change sides. Despite her becoming a household name, not only in her native France but around the world, very little was known about Gisèle herself. She has written her memoir, A Hymn to Life, with writer Judith Perrignon and Judith joins Nuala McGovern to discuss.Dr Punam Krishan is a Glasgow based NHS GP and the resident doctor on the BBC's Morning Live programme. Back in 2024 she was a contestant on Strictly Come Dancing where she was the first dancer to perform a Bollywood routine. But six months ago, at the age of 42, she was diagnosed with breast cancer, and has since gone through treatment. She has recently written about how being a doctor didn't prepare her for the experience of being a patient. Dr Punam joined Anita to discuss.Ketamine has become a worryingly popular recreational drug among young people, and the consequences can be devastating. That's according to a specialist NHS clinic which reports that some teenagers suffer such severe bladder damage from taking it, that some rely on incontinence pads. To discuss the implications, Anita was joined by Dr Alison Downey, Consultant Urologist at Mid Staffs NHS Foundation Trust, who is treating young people with ketamine related bladder problems. Also joining them is Eva, who has stopped using ketamine and is receiving support from the hub.The award-winning internationally renowned Welsh harpist and composer Catrin Finch first came to prominence in her early 20s as the official Royal Harpist to King Charles, the-then Prince of Wales. She achieved chart success with her No. 1 recording of Bach's Goldberg Variations and has performed with many of the world's leading orchestras. Catrin, who began playing the harp at just six years old, has a new album, Notes to Self, a series of reflective and deeply personal new tracks she has composed for Katy, her 13-year-old-self. She joined Nuala and performed live in the studio. Presenter: Anita Rani Producer: Annette Wells

This week on "I've Been Meaning To Listen To That", we review WEST END GIRL by Lily Allen with special guests Michael Limentato & Harper Thomson! Plus, we discuss whether or not this album crosses a rubicon in terms of unapologetic oversharing, whether or not David Harbour is as famous and powerful as he's portrayed in this album, how this album attempts to come to grips with familial cycles of trauma, how this album will potentially be very influential, whether we will be having a roommate summer, the toxic sequence in Pitch Perfect 3, and more!Co-Hosts: Andrew Ambrose Lee, Dakota West Foss, Harper Thomson, Michael Limentato1:23 Preconceived notions on Lily Allen15:17 Themes31:14 Did Lily Allen go too far?43:09 What is you Tahm Bout46:21 Madeleine56:21 West End Girl59:22 Ruminating1:04:05 Tennis1:07:50 Nonmonagamummy / 4chan stan1:10:46 Relapse1:12:28 Let You W(in) / Fruity Loops1:14:28 Just Enough1:16:34 Stray Observations1:34:16 Final Thoughts & RatingsFollow Harper Thomson on Instagram (⁠@harpingabout⁠)Follow Michael Limentato on Instagram (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@limentaco⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)Follow Andrew Ambrose Lee on Instagram (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@andrewambroselee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)Follow Stenley Philippe on Instagram (⁠⁠⁠⁠⁠⁠⁠⁠⁠@snapasten⁠⁠⁠⁠⁠⁠⁠⁠⁠)Follow Stefanie Senior on Instagram (⁠⁠⁠⁠⁠⁠⁠⁠⁠@⁠stefmsenior⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)Cover Art by Megan Rika Young ( Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@meganrika⁠⁠⁠⁠⁠⁠⁠⁠⁠)Theme Song by OTNES (Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@mxotnes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)Follow us at (@ibmtltt) on⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tiktok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ &⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and email us at ivebeenmeaningtolistentothat@gmail.comPlease leave us a rating or review on Apple Podcasts or Spotify!Have a good daaay!

Mickey-Jo was recently invited to attend a gala night at the West End production of CABARET, currently running at the Kit Kat Club at the Playhouse Theatre in London.The production, which has been directed by Rebecca Frecknall and originally starred Eddie Redmayne and Jessie Buckley has recently welcomed new stars Matt Willis (Waitress, Little Shop of Horrors) and Katie Hall (Les Misérables, The Phantom of the Opera) as The Emcee and Sally Bowles.Check out Mickey-Jo's thoughts on what the production is like with these brand new stars as well as the continuing supporting cast...•00:00 | introduction04:51 | Matt Willis as The Emcee10:52 | Katie Hall as Sally Bowles 17:15 | the supporting cast 23:31 | conclusion 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 95,000 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.

Rosamund Pike, the Emmy and Golden Globe winner, is known for standout roles in Saltburn, her Oscar nominated lead in Gone Girl, and Made in Dagenham. Next month she stars on the West End stage, coming back to the role of Jessica Parks, the maverick judge at the heart of the National Theatre's hit play Inter Alia, also filmed for NT Live screenings. She joins Anita Rani to discuss her role that explores motherhood, masculinity and the complexities of justice. Ketamine has become a worryingly popular recreational drug among young people, and the consequences can be devastating. That's according to a specialist NHS clinic which reports that some teenagers suffer such severe bladder damage from taking it, that some rely on incontinence pads. To discuss the implications, Anita is joined by Dr Alison Downey, Consultant Urologist at Mid Staffs NHS Foundation Trust, who is treating young people with ketamine related bladder problems. They are also joined by Faye Maloney, Director of The Lifeboat Recovery Community Hub, along with Eva, who has stopped using ketamine and is receiving support from the hub. The American writer Madeline Cash has just published her debut novel Lost Lambs — already an instant bestseller — and she's only 29. She won high praise from Lena Dunham, who has called her ‘a voice like no other'. Lost Lambs follows the Flynn family — parents Bud and Catherine and their three teenage daughters — whose decision to open their marriage plunges the household into chaos. As the Winter Olympics comes to a close, BBC sports reporter Katie Falkingham joins Anita to discuss the standout female athletes and record breaking performances.Presenter: Anita Rani Producer: Dianne McGregor

He won hearts as Beppe di Marco on EastEnders, commanded the West End stage in Chicago, and is now making moves on the big screen with a project backed by 50 Cent. But Michael Greco's story is about far more than the roles that made him famous.In this raw and honest conversation, Michael sits down with Glenn Marsden to pull back the curtain on the journey behind the success — the early struggles, the defining moments, the highs and lows of life in the spotlight, and the resilience it takes to keep going when the cameras aren't rolling.This is the side of fame you don't usually get to see. The grit. The growth. The truth.Don't miss it.

This week's Doll is a whole lot more than a name squished into a clickbait slop article. She met Mick Jagger several years into her own storied career; which brought her from the UC Berkeley campus to playing Dionne in the West End production of Hair, then gracing the pages of fashion magazines and performing at Isle of Wight. She's a novelist and memoirist, activist, actress in TV and film, and a stage 3 cancer survivor. What can't Marsha Hunt do? Plus, Emma gives an update on her home renovations, and Abby shares her experience at the MCA's Yoko Ono retrospective and her day with friends of Cynthia Plaster Caster.“Marsha Hunt: The Story of a Survivor” is available wherever you stream your podcasts.(Episode starts at 7:00)Sources used for this episode:Marsha Hunt, “Real Life: The Story of a Survivor” (1988)Marsha Hunt, “Undefeated” (2005)Songs used in this episode:John Mayall - “Brown Sugar” (1967)Marsha Hunt - “I Walk on Gilded Splinters” (1969)Renn Woods - “Aquarius” (From the film soundtrack of “Hair”) [1979]The Rolling Stones - “Brown Sugar” (1971)Marsha Hunt - “Oh No, Not The Beast Day” (1973)Follow @thedollspod on Instagram to see clips and photos mentioned in this episode!

KoKo Alexandra is starring as Katherine Jackson and Kate in the West End production of MJ The Musical. KoKo is from Alabama and has been on an incredible journey so far in her career. After spending many years performing at sea on cruise ships and appearing on The Voice US, KoKo moved to London. She received huge acclaim for her performance as Lady Liv in Play On on tour and at the Lyric Hammersmith and later played Spirit of the Ring in Aladdin at the Palace Theatre in Newark. For the last year KoKo has been making her West End debut as Katherine Jackson and Kate in MJ and the show is now coming to the end of its London run. Since moving to the UK, KoKo has performed at The UK Theatre Awards, The Black British Theatre Awards, West End Live and Magic at the Musicals at the Royal Albert Hall.In this episode KoKo discusses why she moved to the UK and how she established herself on the theatre scene over here. She talks about her performance in Play On, her first experience of British pantomime and delves into all-things MJ.Follow KoKo on Instagram: @forever_kori You can see KoKo as Katherine Jackson in MJ The Musical at the Prince Edward Theatre until 28th February 2026. Visit www.london.mjthemusical.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.

Charles is a West End-resident and progressive from the Bronx who founded Safe Space NOVA for LGBTQ+ youth, who chaired the Alexandria AIDS/HIV Commission, and has an MBA focused on Human Capital.  Fun fact - Charles' favorite mode of transportation is Metro! Sad fact - his dog passed away a little over a year ago, who was a star of the Scottish Walk Parade.His policy corners:Affordability - deeply affordable housing supplyWorkforce pathways. Trade schools Sustainable infrastructure amidst climate change, including snowcrete removal Transportation & Congestion. “Get out of your car!” Liberally Social Podcast collaborates with Ryan Belmore of The Alexandria Brief for a special collaboration series of interviews for this Firehouse City Council Primary!Vote in the Democratic Party volunteer-run firehouse primary on Saturday, February 21st from 8:30am-7pm at Cora Kelly Rec Center + Beatley Central Library OR Online if you register in advance by Friday Feb 20th at 5pm! Visit alexdems.org for more information.Want to watch this as a video? https://www.alexandriabrief.com/podcast Want to check out Charles' campaign? https://www.sumpterforvirginia.com/

Amazing actor and the voice of Blur's Parklife, Phil Daniels tells us all about his new play Teeth 'n' Smiles at London's West End.Ocean Colour Scene's riff-maker Steve Craddock pops in ahead of his new Travellers Tunes Tour.Join Chris and the Class Behind The Glass live from the rock n roll tower every morning from 0630! Watch all the stars live on the FREE Virgin Radio UK app. Hosted on Acast. See acast.com/privacy for more information.

FLOYD WEST22 returns with Lip Biter Sounds – Episode 48, a high-voltage ride through peak-hour tech house, acid pressure, and warehouse-ready techno. This one moves slick and seductive at first… then gradually turns into a full-blown dancefloor sermon. We open deep and hypnotic with Kristin Velvet and Stolen Faces, setting the tone with rolling low-end tension. Then the energy spikes with a slick mashup of Rihanna's Don't Stop The Music colliding against Mau P's club weapon Neck — pure dancefloor ignition. From there it's non-stop momentum: Plastik Funk & Esox, HIISAK & Reeva, and the legendary Benny Benassi alongside Fideles deliver sleek, driving heat. Basslines get heavier with Wax Motif & Sarah De Warren, plus Night Bass energy from Body Ocean & Benni Ola. Groove masters like Ewan McVicar, Blackloud, R3WIRE, and Marten Hørger keep the house pulse tight and addictive. Then the shift happens. The techno takes over. Adam Beyer, GENESI & Aye Anne bring the Drumcode thunder with DNA. A reworked classic from Soulwax hits via the Westend edit. Latin-charged emotion lands with Victor Tellagio. Groove precision from Ad-Apt & Max Styler keeps the tension rising. And the final stretch? Pure acid warehouse chaos — A.D.H.S. into Conduit & Charlotte de Witte closing with A Prayer for the Dancefloor — a cinematic, pounding finale built for 3AM strobe lights. Episode 48 is bold, sexy, and unapologetically club-focused. Lip Biter Sounds. ⚡️Like the Show? Click the [Repost] ↻ button so more people can hear it!

Comedians and dearest pals Tom Allen and Suzi Ruffell chat friendship, love, life, and culture... sometimes...⁠⁠⁠⁠⁠⁠⁠Get in touch with all your problems or if you want to give your Like Minded Friend a shout out:hello@likemindedfriendspod.comWe'll be out and in your ears wherever you get your podcasts every Wednesday morning, and if you like what you hear why not leave us a review on Apple Podcasts or wherever it is you listen... Thanks - Tom & Suzixx

A long-standing cast member of Phantom of the Opera with a string of amazing West End credits, it’s the gorgeous Adam Linstead!

One of the most anticipated West End productions of 2026 has finally arrived, as Dracula starring Cynthia Erivo opens tonight at the Noel Coward Theatre in London.The production, which has already been seen in Australia, will be adapted and directed by Kip Williams and comes on the heels of his previous staging of The Picture of Dorian Gray starring Sarah Snook.Check out this full review to find out more about the production, this adaptation of the Bram Stoker story, and Cynthia's performance as every one of its characters...•00:00 | introduction02:59 | how does the play work?11:30 | the material / adaptation16:24 | Cynthia's performance 24:57 | conclusion 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 95,000 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.

One of the most anticipated West End productions of 2026 has finally arrived, as Dracula starring Cynthia Erivo opened last night at the Noël Coward Theatre in London.The production, which has already been seen in Australia, has been adapted and directed by Kip Williams and comes on the heels of his previous staging of The Picture of Dorian Gray starring Sarah Snook.The production has divided critics, with some outlets giving 2* critiques while others delivered 4* praise. Check out a selection of the critical responses in this review roundup...•00:00 | introduction02:09 | The Stage07:52 | The Sunday Times 13:32 | WhatsOnStage18:18 | The Guardian23:48 | TimeOut London28:58 | The Standard33:27 | The IndependentAbout 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 95,000 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.

Spymaster George Smiley was at the breakfast-table for Nick Harkaway growing up. His father, John le Carré, born David Cornwell, would draft the Circus's latest intrigues on scraps of paper at dawn and read them aloud over tea and toast. It was an apprenticeship in spymasters and writing. Five years after le Carré's death, Smiley lives on in a play on London's West End and in new novels written by Harkaway himself including a 2024 revival with another on the way.

How do you stay audacious in a world that's noisier and more saturated than ever? How might the idea of creative rhythm change the way you write? Lara Bianca Pilcher gives her tips from a multi-passionate creative career. In the intro, becoming a better writer by being a better reader [The Indy Author]; How indie authors can market literary fiction [Self-Publishing with ALLi]; Viktor Wynd's Museum of Curiosities; Seneca's On the Shortness of Life; All Men are Mortal – Simone de Beauvoir; Surface Detail — Iain M. Banks; Bones of the Deep – J.F. Penn. This episode is sponsored by Publisher Rocket, which will help you get your book in front of more Amazon readers so you can spend less time marketing and more time writing. I use Publisher Rocket for researching book titles, categories, and keywords — for new books and for updating my backlist. Check it out at www.PublisherRocket.com This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why self-doubt is a normal biological response — and how audacity means showing up anyway The difference between creative rhythm and rigid discipline, and why it matters for writers How to navigate a saturated world with intentional presence on social media Practical strategies for building a platform as a nonfiction author, including batch content creation The concept of a “parallel career” and why designing your life around your art beats waiting for a big break Getting your creative rhythm back after crisis or burnout through small, gentle steps You can find Lara at LaraBiancaPilcher.com. Transcript of the interview with Lara Bianca Pilcher Lara Bianca Pilcher is the author of Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World. She's also a performing artist and actor, life and creativity coach, and the host of the Healthy Wealthy Wise Artist podcast. Welcome, Lara. Lara: Thank you for having me, Jo. Jo: It's exciting to talk to you today. First up— Tell us a bit more about you and how you got into writing. Lara: I'm going to call myself a greedy creative, because I started as a dancer, singer, and actress in musical theatre, which ultimately led me to London, the West End, and I was pursuing that in highly competitive performance circles. A lot of my future works come from that kind of place. But when I moved to America—which I did after my season in London and a little stint back in Australia, then to Atlanta, Georgia—I had a visa problem where I couldn't work legally, and it went on for about six months. Because I feel this urge to create, as so many of your listeners probably relate to, I was not okay with that. So that's actually where I started writing, in the quietness, with the limits and the restrictions. I've got two children and a husband, and they would go off to school and work and I'd be home thinking, ha. In that quietness, I just began to write. I love thinking of creativity as a mansion with many rooms, and you get to pick your rooms. I decided, okay, well the dance, acting, singing door is shut right now—I'm going to go into the writing room. So I did. Jo: I have had a few physical creatives on the show. Obviously one of your big rooms in your mansion is a physical room where you are actually performing and moving your body. I feel like this is something that those of us whose biggest area of creativity is writing really struggle with—the physical side. How do you think that physical practice of creativity has helped you in writing, which can be quite constrictive in that way? Lara: It's so good that you asked this because I feel what it trained me to do is ignore noise and show up. I don't like the word discipline—most of us get a bit uncomfortable with it, it's not a nice word. What being a dancer did was teach me the practice of what I like to call a rhythm, a creative rhythm, rather than a discipline, because rhythm ebbs and flows and works more with who we are as creatives, with the way creativity works in our body. That taught me: go to the barre over and over again—at the ballet barre, I'm talking about, not the pub. Go there over and over again. Warm up, do the work, show up when you don't feel like it. thaT naturally pivoted over to writing, so they're incredibly linked in the way that creativity works in our body. Jo: Do you find that you need to do physical practice still in order to get your creativity moving? I'm not a dancer. I do like to shake it around a bit, I guess. But I mainly walk. If I need to get my creativity going, I will walk. If people are stuck, do you think doing something physical is a good idea? Lara: It is, because the way that our body and our nervous system works—without going into too much boring science, although some people probably find it fascinating—is that when we shake off that lethargic feeling and we get blood flowing in our body, we naturally feel more awake. Often when you're walking or you're doing something like dance, your brain is not thinking about all of the big problems. You might be listening to music, taking in inspiration, taking in sunshine, taking in nature, getting those endorphins going, and that naturally leads to the brain being able to psychologically show up more as a creative. However, there are days, if I'm honest, where I wake up and the last thing I want to do is move. I want to be in a little blanket in the corner of the room with a hot cocoa or a coffee and just keep to myself. Those aren't always the most creative days, but sometimes I need that in my creative rhythm, and that's okay too. Jo: I agree. I don't like the word discipline, but as a dancer you certainly would've had to do that. I can't imagine how competitive it must be. I guess this is another thing about a career in dance or the physical arts. Does it age out? Is it really an ageist industry? Whereas I feel like with writing, it isn't so much about what your body can do anymore. Lara: That is true. There is a very real marketplace, a very real industry, and I'm careful because there's two sides to this coin. There is the fact that as we get older, our body has trouble keeping up at that level. There's more injuries, that sort of thing. There are some fit women performing in their sixties and seventies on Broadway that have been doing it for years, and they are fine. They'll probably say it's harder for some of them. Also, absolutely, I think there does feel in the professional sense like there can be a cap. A lot of casting in acting and in that world feels like there's fewer and fewer roles, particularly for women as we get older, but people are in that space all the time. There's a Broadway dancer I know who is 57, who's still trying to make it on Broadway and really open about that, and I think that's beautiful. So I'm careful with putting limits, because I think there are always outliers that step outside and go, “Hey, I'm not listening to that.” I think there's an audience for every age if you want there to be and you make the effort. But at the same time, yes, there is a reality in the industry. Totally. Jo: Obviously this show is not for dancers. I think it was more framing it as we are lucky in the writing industry, especially in the independent author community, because you can be any age. You can be writing on your deathbed. Most people don't have a clue what authors look like. Lara: I love that, actually. It's probably one of the reasons I maybe subconsciously went into writing, because I'm like, I want to still create and I'm getting older. It's fun. Jo: That's freeing. Lara: So freeing. It's a wonderful room in the mansion to stay in until the day I die, if I must put it that way. Jo: I also loved you mentioning that Broadway dancer. A lot of listeners write fiction—I write fiction as well as nonfiction—and it immediately makes me want to write her story. The story of a 57-year-old still trying to make it on Broadway. There's just so much in that story, and I feel like that's the other thing we can do: writing about the communities we come from, especially at different ages. Let's get into your book, Audacious Artistry. I want to start on this word audacity. You say audacity is the courage to take bold, intentional risks, even in the face of uncertainty. I read it and I was like, I love the sentiment, but I also know most authors are just full of self-doubt. Bold and audacious. These are difficult words. So what can you say to authors around those big words? Lara: Well, first of all, that self-doubt—a lot of us don't even know what it is in our body. We just feel it and go, ugh, and we read it as a lack of confidence. It's not that. It's actually natural. We all get it. What it is, is our body's natural ability to perceive threat and keep us safe. So we're like, oh, I don't know the outcome. Oh, I don't know if I'm going to get signed. Oh, I don't know if my work's going to matter. And we read that as self-doubt—”I don't have what it takes” and those sorts of things. That's where I say no. The reframe, as a coach, I would say, is that it's normal. Self-doubt is normal. Everyone has it. But audacity is saying, I have it, but I'm going to show up in the world anyway. There is this thing of believing, even in the doubt, that I have something to say. I like to think of it as a metaphor of a massive feasting table at Christmas, and there's heaps of different dishes. We get to bring a dish to the table rather than think we're going to bring the whole table. The audacity to say, “Hey, I have something to say and I'm going to put my dish on the table.” Jo: I feel like the “I have something to say” can also be really difficult for people, because, for example, you mentioned you have kids. Many people are like, I want to share this thing that happened to me with my kids, or a secret I learned, or a tip I think will help people. But there's so many people who've already done that before. When we feel like we have something to say but other people have said it before, how do you address that? Lara: I think everything I say, someone has already said, and I'm okay with that. But they haven't said it like me. They haven't said it in my exact way. They haven't written the sentence exactly the way—that's probably too narrow a point of view in terms of the sentence—maybe the story or the chapter. They haven't written it exactly like me, with my perspective, my point of view, my life experience, my lived experience. It matters. People have very short memories. You think of the last thing you watched on Netflix and most of us can't remember what happened. We'll watch the season again. So I think it's okay to be saying the same things as others, but recognise that the way you say it, your point of view, your stories, your metaphors, your incredible way of putting a sentence togethes, it still matters in that noise. Jo: I think you also talk in the book about rediscovering the joy of creation, as in you are doing it for you. One of the themes that I emphasise is the transformation that happens within you when you write a book. Forget all the people who might read it or not read it. Even just what transforms in you when you write is important enough to make it worthwhile. Lara: It really, really is. For me, talking about rediscovering the joy of creation is important because I've lost it at times in my career, both as a performing artist and as an author, in a different kind of way. When we get so caught up in the industry and the noise and the trends, it's easy to just feel overwhelmed. Overwhelm is made up of a lot of emotions like fear and sadness and grief and all sorts of things. A lot of us don't realise that that's what overwhelm is. When we start to go, “Hey, I'm losing my voice in all this noise because comparison is taking over and I'm feeling all that self-doubt,” it can feel just crazy. So for me, rediscovering the joy of creation is vital to survival as an author, as an artist. A classic example, if you don't mind me sharing my author story really quickly, is that when I first wrote the first version of my book, I was writing very much for me, not realising it. This is hindsight. My first version was a little more self-indulgent. I like to think of it like an arrowhead. I was trying to say too much. The concept was good enough that I got picked up by a literary agent and worked with an editor through that for an entire year. At the end of that time, they dropped me. I felt like, through that time, I learned a lot. It was wonderful. Their reason for dropping me was saying, “I don't think we have enough of a unique point of view to really sell this.” That was hard. I lay on my bed, stared at the ceiling, felt grief. The reality is it's so competitive. What happened for me in that year is that I was trying to please. If you're a new author, this is really important. You are so desperately trying to please the editor, trying to do all the right things, that you can easily lose your joy and your unique point of view because you are trying to show up for what you think they all need and want. What cut through the noise for me is I got off that bed after my three hours of grief—it was probably longer, to be fair—but I booked myself a writing coach. I went back to the drawing board. I threw a lot of the book away. I took some good concepts out that I already knew were good from the editor, then I rewrote the entire thing. It's completely different to the first version. That's the book that got a traditional publishing deal. That book was my unique point of view. That book was my belief, from that grief, that I still have something to say. Instead of trusting what the literary agent and the editor were giving me in those red marks all over that first version, I was like, this is what I want to say. That became the arrowhead that's cut into the industry, rather than the semi-trailer truck that I was trying to bulldoze in with no clear point of view. So rediscovering the joy of creation is very much about coming back to you. Why do I write? What do I want to say? That unique point of view will cut through the noise a lot of the time. I don't want to speak in absolutes, but a lot of the time it will cut through the noise better than you trying to please the industry. Jo: I can't remember who said it, but somebody talked about how you've got your stone, and your stone is rough and it has random colours and all this. Then you start polishing the stone, which you have to do to a point. But if you keep polishing the stone, it looks like every other stone. What's the point? That fits with what you were saying about trying to please everyone, you end up pleasing no one. I also think the reality of what you just said about the book is a lot of people's experience with writing in general. Certainly for me, I don't write in order. I chuck out a lot. I'm a discovery writer. People think you sit down and start A and finish Z, and that's it. It's kind of messy, isn't it? Was that the same in your physical creative life? Lara: Yes. Everything's a mess. In the book I actually talk about learning to embrace the cringe, because we all want to show up perfect. Just as you shared, we think, because we read perfect and look at perfect or near-perfect work—that's debatable all the time—we want to arrive there, and I guess that's natural. But what we don't often see on social media or other places is the mess. I love the behind the scenes of films. I want to see the messy creative process. The reality is we have to learn to embrace the messy cringe because that's completely normal. My first version was so messy, and it's about being able to refine it and recognise that that is normal. So yes, embrace it. That's my quote for the day. Embrace the cringe, show up messy. It's all right. Jo: You mentioned the social media, and the subtitle of the book mentions a “saturated world.” The other problem is there are millions of books out there now. AI is generating more content than humans do, and it is extremely hard to break through. How are we to deal with this saturated world? When do we join in and when do we step away? Lara: I think it's really important not to have black and white thinking about it, because trust me, every day I meet an artist that will say, “I hate that I have to show up online.” To be honest with you, there's a big part of me that does also. But the saturation of the world is something that I recognise, and for me, it's like I'm in the world but not of it. That saturation can cause so much overwhelm and nervous system threat and comparison. What I've personally decided to do is have intentional showing up. That looks like checking in intentionally with a design, not a randomness, and then checking out. When push comes to shove, at the end of the day, I really believe that what sells books is people's trust in us as a person. They might go through an airport and not know us at all and pick up the book because it's a bestseller and they just trust the reputation, but so much of what I'm finding as an artist is that personal relationship, that personal trust. Whether that's through people knowing you via your podcast or people meeting you in a room. Especially in nonfiction, I think that's really big. Intentional presence from a place where we've regulated ourselves, being aware that it's saturated, but my job's not to be focused on the saturation. My job is to find my unique voice and say I have something to bring. Be intentional with that. Shoot your arrow, and then step out of the noise, because it's just overwhelming if you choose to live there and scroll without any intentionality at all. Jo: So how do people do that intentionality in a practical way around, first of all, choosing a platform, and then secondly, how they create content and share content and engage? What are some actual practical tips for intentionality? Lara: I can only speak from my experience, but I'm going to be honest, every single application I sent asked for my platform stats. Every single one. Platform stats as in how many followers, how many people listening to your podcast, how many people are reading your blog. That came up in every single literary agent application. So I would be a fool today to say you've got to ignore that, because that's just the brass tacks, unless you're already like a famous footballer or something. Raising and building a platform of my own audience has been a part of why I was able to get a publishing deal. In doing that, I've learned a lot of hard lessons. Embrace the cringe with marketing and social media as well, because it's its own beast. Algorithms are not what I worry about. They're not going to do the creativity for you. What social media's great at is saying, “Hey, I'm here”—it's awareness. It's not where I sell stuff. It's where I say, I'm here, this is what I'm doing, and people become aware of me and I can build that relationship. People do sell through social media, but it's more about awareness statistically. I am on a lot of platforms, but not all of them work for every author or every style of book. I've done a lot of training. I've really had to upskill in this space and get good at it. I've put myself through courses because I feel like, yes, we can ignore it if we want to, but for me it's an intentional opting in because the data shows that it's been a big part of being able to get published. That's overwhelming to hear for some people. They don't want to hear that. But that's kind of the world that we are in, isn't it? Jo: I think the main point is that you can't do everything and you shouldn't even try to do everything. The best thing to do is pick a couple of things, or pick one thing, and focus on that. For example, I barely ever do video, so I definitely don't do TikTok. I don't do any kind of video stuff. But I have this podcast. Audio is my happy place, and as you said, long-form audio builds trust. That is one way you can sell, but it's also very slow—very, very slow to build an audio platform. Then I guess my main social media would be Instagram, but I don't engage a lot there. So do you have one or two main things that you do, and any thoughts on using those for book marketing? Lara: I do a lot of cross-posting. I am on Instagram and I do a lot of creation there, and I'm super intentional about this. I actually do 30 days at a time, and then it's like my intentional opt-in. I'll create over about two days, edit and plan. It's really, really planned—shoot everything, edit everything, put it all together, and then upload everything. That will be 30 days' worth. Then I back myself right out of there, because I don't want to stay in that space. I want to be in the creative space, but I do put those two days a month aside to do that on Instagram. Then I tweak things for YouTube and what works on LinkedIn, which is completely different to Instagram. As I'm designing my content, I have in mind that this one will go over here and this one can go on here, because different platforms push different things. I am on Threads, but Threads is not statistically where you sell books, it's just awareness. Pinterest I don't think has been very good for my type of work, to be honest. For others it might. It's a search engine, it's where people go to get a recipe. I don't necessarily feel like that's the best place, this is just my point of view. For someone else it might be brilliant if you're doing a cookbook or something like that. I am on a lot of platforms. My podcast, however, I feel is where I'm having the most success, and also my blog. Those things as a writer are very fulfilling. I've pushed growing a platform really hard, and I am on probably almost every platform except for TikTok, but I'm very intentional with each one. Jo: I guess the other thing is the business model. The fiction business model is very, very different to nonfiction. You've got a book, but your higher-cost and higher-value offerings are things that a certain number of people come through to you and pay you more money than the price of a book. Could talk about how the book leads into different parts of your business? Because some people are like, “Am I going to make a living wage from book sales of a nonfiction book?” And usually people have multiple streams of income. Lara: I think it's smart to have multiple streams of income. A lot of people, as you would know, would say that a book is a funnel. For those who haven't heard of it, a way that people come into your bigger offerings. They don't have to be, but very much I do see it that way. It's also credibility. When you have a published book, there's a sense of credibility. I do have other things. I have courses, I have coaching, I have a lot of things that I call my parallel career that chug alongside my artist work and actually help stabilise that freelance income. Having a book is brilliant for that. I think it's a wonderful way to get out there in the world. No matter what's happening in all the online stuff, when you're on an aeroplane, so often someone still wants to read a book. When you're on the beach, they don't want to be there with a laptop. If you're on the sand, you want to be reading a beautiful paper book. The smell of it, the visceral experience of it. Books aren't going anywhere, to me. I still feel like there are always going to be people that want to pick it up and dig in and learn so much of your entire life experience quickly. Jo: We all love books here. I think it's important, as you do talk about career design and you mentioned there the parallel career—I get a lot of questions from people. They may just be writing their first book and they want to get to the point of making money so they could leave their day job or whatever. But it takes time, doesn't it? So how can we be more strategic about this sort of career design? Lara: For me, this has been a big one because lived experience here is that I know artists in many different areas, whether they're Broadway performers or music artists. Some of them are on almost everything I watch on TV. I'm like, oh, they're that guy again. I know that actor is on almost everything. I'll apply this over to writers. The reality is that these high-end performers that I see all the time showing up, even on Broadway in lead roles, all have another thing that they do, because they can still have, even at the highest level, six months between a contract. Applying that over to writing is the same thing, in that books and the money from them will ebb and flow. What so often artists are taught—and authors fit into this—is that we ultimately want art to make us money. So often that becomes “may my art rescue me from this horrible life that I'm living,” and we don't design the life around the art. We hope, hope, hope that our art will provide. I think it's a beautiful hope and a valid one. Some people do get that. I'm all for hoping our art will be our main source of income. But the reality is for the majority of people, they have something else. What I see over and over again is these audacious dreams, which are wonderful, and everything pointing towards them in terms of work. But then I'll see the actor in Hollywood that has a café job and I'm like, how long are you going to just work at that café job? They're like, “Well, I'm goint to get a big break and then everything's going to change.” I think we can think the same way. My big break will come, I'll get the publishing deal, and then everything will change. The reframe in our thinking is: what if we looked at this differently? Instead of side hustle, fallback career, instead of “my day job,” we say parallel career. How do I design a life that supports my art? And if I get to live off my art, wonderful. For me, that's looked like teaching and directing musical theatre. It's looked like being able to coach other artists. It's looked like writing and being able to pivot my creativity in the seasons where I've needed to. All of that is still creativity and energising, and all of it feeds the great big passion I have to show up in the world as an artist. None of it is actually pulling me away or draining me. I mean, you have bad days, of course, but it's not draining my art. When we are in this way of thinking—one day, one day, one day—we are not designing intentionally. What does it look like to maybe upskill and train in something that would be more energising for my parallel career that will chug alongside us as an artist? We all hope our art can totally 100% provide for us, which is the dream and a wonderful dream, and one that I still have. Jo: It's hard, isn't it? Because I also think that, personally, I need a lot of input in order to create. I call myself more of a binge writer. I just finished the edits on my next novel and I worked really hard on that. Now I won't be writing fiction for, I don't know, maybe six months or something, because now I need to input for the next one. I have friends who will write 10,000 words a day because they don't need that. They have something internal, or they're just writing a different kind of book that doesn't need that. Your book is a result of years of experience, and you can't write another book like that every year. You just can't, because you don't have enough new stuff to put in a book like that every single year. I feel like that's the other thing. People don't anticipate the input time and the time it takes for the ideas to come together. It is not just the production of the book. Lara: That's completely true. It goes back to this metaphor that creativity in the body is not a machine, it's a rhythm. I like to say rhythm over consistency, which allows us to say, “Hey, I'm going to be all in.” I was all in on writing. I went into a vortex for days on end, weeks on end, months and probably years on end. But even within that, there were ebbs and flows of input versus “I can't go near it today.” Recognising that that's actually normal is fine. There are those people that are outliers, and they will be out of that box. A lot of people will push that as the only way. “I am going to write every morning at 10am regardless.” That can work for some people, and that's wonderful. For those of us who don't like that—and I'm one of those people, that's not me as an artist—I accept the rhythm of creativity and that sometimes I need to do something completely different to feed my soul. I'm a big believer that a lot of creative block is because we need an adventure. We need to go out and see some art. To do good art, you've got to see good art, read good art, get outside, do something else for the input so that we have the inspiration to get out of the block. I know a screenwriter who was writing a really hard scene of a daughter's death—her mum's death. It's not easy to just write that in your living room when you've never gone through it. So she took herself out—I mean, it sounds morbid, but as a writer you'll understand the visceral nature of this—and sat at somebody's tombstone that day and just let that inform her mind and her heart. She was able to write a really powerful scene because she got out of the house and allowed herself to do something different. All that to say that creativity, the natural process, is an in-and-out thing. It ebbs and flows as a rhythm. People are different, and that's fine. But it is a rhythm in the way it works scientifically in the body. Jo: On graveyards—we love graveyards around here. Lara: I was like, sorry everyone, this isn't very nice. Jo: Oh, no. People are well used to it on this show. Let's come back to rhythm. When you are in a good rhythm, or when your body's warmed up and you are in the flow and everything's great, that feels good. But what if some people listening have found their rhythm is broken in some way, or it's come to a stop? That can be a real problem, getting moving again if you stop for too long. What are some ways we can get that rhythm back into something that feels right again? Lara: First of all, for people going through that, it's because our body actually will prioritise survival when we're going through crisis or too much stress. Creativity in the brain will go, well, that's not in that survival nature. When we are going through change—like me moving countries—it would disconnect us a lot from not only ourselves and our sense of identity, but creativity ultimately reconnects you back into life. I feel like to be at our optimum creative self, once we get through the crisis and the stress, is to gently nudge ourselves back in by little micro things. Whether it's “I'm just going to have the rhythm of writing one sentence a day.” As we do that, those little baby steps build momentum and allow us to come back in. Creativity is a life force. It's not about production, it's actually how we get to any unique contribution we're going to bring to the world. As we start to nudge ourselves back in, there's healing in that and there's joy in that. Then momentum comes. I know momentum comes from those little steps, rather than the overwhelming “I've got to write a novel this week” mindset. It's not going to happen, most of the time, when we are nudging our way back in. Little baby steps, kindness with ourselves. Staying connected to yourself through change or through crisis is one of the kindest things we can offer ourselves, and allowing ourselves to come into that rhythm—like that musical song of coming back in with maybe one line of the song instead of the entire masterpiece, which hopefully it will be one day. Jo: I was also thinking of the dancing world again, and one thing that is very different with writers is that so much of what we do is alone. In a lot of the performance art space, there's a lot more collaboration and groups of people creating things together. Is that something you've kept hold of, this kind of collaborative energy? How do you think we can bring that collaborative energy more into writing? Lara: Writing is very much alone. Obviously some people, depending on the project, will write in groups, but generally speaking, it's alone. For me, what that looks like is going out. I do this, and I know for some writers this is like, I don't want to go and talk to people. There are a lot of introverts in writing, as you are aware. I do go to creative mixers. I do get out there. I'm planning right now my book launch with a local bookstore, one in Australia and one here in America. Those things are scary, but I know that it matters to say I'm not in this alone. I want to bring my friends in. I want to have others part of this journey. I want to say, hey, I did this. And of course, I want to sell books. That's important too. It's so easy to hide, because it's scary to get out there and be with others. Yet I know that after a creative mixer or a meetup with all different artists, no matter their discipline, I feel very energised by that. Writers will come, dancers will come, filmmakers will come. It's that creative force that really energises my work. Of course, you can always meet with other writers. There's one person I know that runs this thing where all they do is they all get on Zoom together and they all write. Their audio's off, but they're just writing. It's just the feeling of, we're all writing but we're doing it together. It's a discipline for them, but because there's a room of creatives all on Zoom, they're like, I'm here, I've showed up, there's others. There's a sense of accountability. I think that's beautiful. I personally don't want to work that way, but some people do, and I think that's gorgeous too. Jo: Whatever sustains you. I think one of the important things is to realise you are not alone. I get really confused when people say this now. They're like, “Writing's such a lonely life, how do you manage?” I'm like, it is so not lonely. Lara: Yes. Jo: I'm sure you do too. Especially as a podcaster, a lot of people want to have conversations. We are having a conversation today, so that fulfils my conversation quota for the day. Lara: Exactly. Real human connection. It matters. Jo: Exactly. So maybe there's a tip for people. I'm an introvert, so this actually does fulfil it. It's still one-on-one, it's still you and me one-on-one, which is good for introverts. But it's going out to a lot more people at some point who will listen in to our conversation. There are some ways to do this. It's really interesting hearing your thoughts. Tell people where they can find you and your books and your podcast online. Lara: The book is called Audacious Artistry: Reclaim Your Creative Identity and Thrive in a Saturated World, and it's everywhere. The easiest thing to do would be to visit my website, LaraBiancaPilcher.com/book, and you'll find all the links there. My podcast is called Healthy Wealthy Wise Artist, and it's on all the podcast platforms. I do short coaching for artists on a lot of the things we've been talking about today. Jo: Brilliant. Well, thanks so much for your time, Lara. That was great. Lara: Thank you.The post Audacious Artistry: Reclaiming Your Creative Identity And Thriving In A Saturated World With Lara Bianca Pilcher first appeared on The Creative Penn.

01. White Barba - Es el Sueno 02. Agustin Pietrocola - Nitrogen 03. Amir Telem, Radical Fantasy, Kyotto - Kiss the Sky 04. Digital Mess, Astral Base, Taylan & Solvan - Pixelfish 05. Meloko, Konvex, Garla - If U Ever 06. Riko, Gugga - Tekatu 07. Monophase, Skuro, Sorlong - Deeper 08. Raz Alon - Hustler 09. Protoculture - Chromaflora 10. Sergey Alymov - Transcendens 11. Mayro, Haft - The Search 12. Cedren, Manu-L - Perception 13. Gabriel Robella - Ancient Waves 14. Limetra, Ranta - Bloom 15. Steve Parry - Freeze 16. Max Wexem - Asterism 17. Lean Robotti - Framna 18. Gmj - Higher Self 19. Kamilo Sanclemente, Andre Moret - Dichotomy 20. Auseeb, Rabiee Ahmad - Comet 21. Tiefstone - Juggler 22. Quivver, Dave Seaman - Cowbells of Nuneaton 23. Leo Perez, Dhany G, Andres Perez - Spicy Groove 24. Cioz, Super Flu - Jodi Bush 25. Brvnov - Sunseeker 26. Du More - Industrial Tears 27. Marco Fredrick - Breakthrough 28. Echo Daft - Not Like Us 29. Cary Crank, Kyotto - Inner Atlas 30. J Lauda - The Frequency 31. Kostya Outta, Greta Meier, Alisha - Far Above 32. Goodkidmadcity, Gonzalo Cotroneo - Conundrum 33. Four Days, Levitone - Discotheque 34. Doug Crawford, Forty Cats - Expectations 35. Deepme - Bodywork 36. Matt Oliver - Rust Signal 37. J Lauda, Noiyse Project - Meridian 38. Anton Make - Velurion (Extended Mix) 39. Protoculture - Skoenlapper 40. Anyma, Rebuke - Syren 41. Nicolas Soria - In the Light 42. Chris Doppler - Filtrum 43. Facundo Navarro - Ravens & Sirens 44. Milkwish, Van Dope, Jerome Isma-Ae - Rivers 45. Benja Molina, Ilias Katelanos, Plecta - Pandora 46. Belben, Bilal Santiago - Hypnodance 47. Rokazer - Nekkar 48. Dylhen, Dmitry Molosh - Elements 49. Blaktone - Move Your Body 50. Katy Kvint - Essence 51. Passenger 10 - Sahara 52. Yohai Mor - Nedarim 53. Elecground - Day Light 54. Savin - Trip 55. Hoostage - Triple X 56. Amir Farhoodi, Ihsa Kent - Dynamics 57. Max Styler, Notre Dame - You & Me 58. Affkt - Kamatoro 59. Nichols Roark, Fernando Olaya, Gorkiz - Time Space 60. Ariel Stamile - Watanga Spirit 61. Sanders Soul, Vibe Beside - Chukotka 62. Third Son - Ptolemy 63. Westend, Max Styler - Rhythm Machine 64. Kostya Benjamin - Broken Dreams 65. Rauschhaus, Greta Meier, Gai Barone - Painting In The Sky 66. Hidden Empire - Turnout 67. Rufus Du Sol - Inhale 68. Evoxel, Amiel Adany - Down To The Beat 69. Deep Dish, Haft & Peyman S - Flashdance

Stephanie Paolini is the reason "Seacoast Stories" exists.Without her, host Troy Farkas never would have planted roots on the Seacoast.And today (finally), the owner of 3 Bridges Yoga (Portsmouth) finally makes her long-awaited debut on the 100th EPISODE OF THE PODCAST

We're celebrating 350 episodes with Billy Nevers!Billy has just completed his run as Aaron Burr in the UK and Ireland tour of Hamilton. Billy was part of the tour's original cast as Lafayette and Jefferson whilst also understudying Aaron Burr. He went on to takeover as Aaron Burr full-time for the final year of the tour. Billy's theatre credits include: Fred in Groundhog Day (Old Vic), Jesus Christ Superstar (Barbican/Regent's Park Open Air), Wonderful Town (Opera Holland Park) and Turn Up, The Color Purple in Concert and Overture (Cadogan Hall).Billy was nominated for Outstanding Performance in a Musical at the 2022 Black British Theatre Awards for his performance as Store Manager and Dewey in the London revival of Legally Blonde (Regent's Park Open Air Theatre). He was a swing in the original cast of & Juliet in Manchester and in the West End, and later returned to the show as Francois.Billy has co-hosted The West End Frame Show a couple of times, but this is his first time In The Frame! In this episode, Billy delves into his journey with Hamilton. He discusses his history with the show, what it was like to open the tour and how he came to take over as Burr and what the role meant to him... and lots more.Follow Billy on Instagram: @billylukeneversThis 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.

01. White Barba - Es el Sueno 02. Agustin Pietrocola - Nitrogen 03. Amir Telem, Radical Fantasy, Kyotto - Kiss the Sky 04. Digital Mess, Astral Base, Taylan & Solvan - Pixelfish 05. Meloko, Konvex, Garla - If U Ever 06. Riko, Gugga - Tekatu 07. Monophase, Skuro, Sorlong - Deeper 08. Raz Alon - Hustler 09. Protoculture - Chromaflora 10. Sergey Alymov - Transcendens 11. Mayro, Haft - The Search 12. Cedren, Manu-L - Perception 13. Gabriel Robella - Ancient Waves 14. Limetra, Ranta - Bloom 15. Steve Parry - Freeze 16. Max Wexem - Asterism 17. Lean Robotti - Framna 18. Gmj - Higher Self 19. Kamilo Sanclemente, Andre Moret - Dichotomy 20. Auseeb, Rabiee Ahmad - Comet 21. Tiefstone - Juggler 22. Quivver, Dave Seaman - Cowbells of Nuneaton 23. Leo Perez, Dhany G, Andres Perez - Spicy Groove 24. Cioz, Super Flu - Jodi Bush 25. Brvnov - Sunseeker 26. Du More - Industrial Tears 27. Marco Fredrick - Breakthrough 28. Echo Daft - Not Like Us 29. Cary Crank, Kyotto - Inner Atlas 30. J Lauda - The Frequency 31. Kostya Outta, Greta Meier, Alisha - Far Above 32. Goodkidmadcity, Gonzalo Cotroneo - Conundrum 33. Four Days, Levitone - Discotheque 34. Doug Crawford, Forty Cats - Expectations 35. Deepme - Bodywork 36. Matt Oliver - Rust Signal 37. J Lauda, Noiyse Project - Meridian 38. Anton Make - Velurion (Extended Mix) 39. Protoculture - Skoenlapper 40. Anyma, Rebuke - Syren 41. Nicolas Soria - In the Light 42. Chris Doppler - Filtrum 43. Facundo Navarro - Ravens & Sirens 44. Milkwish, Van Dope, Jerome Isma-Ae - Rivers 45. Benja Molina, Ilias Katelanos, Plecta - Pandora 46. Belben, Bilal Santiago - Hypnodance 47. Rokazer - Nekkar 48. Dylhen, Dmitry Molosh - Elements 49. Blaktone - Move Your Body 50. Katy Kvint - Essence 51. Passenger 10 - Sahara 52. Yohai Mor - Nedarim 53. Elecground - Day Light 54. Savin - Trip 55. Hoostage - Triple X 56. Amir Farhoodi, Ihsa Kent - Dynamics 57. Max Styler, Notre Dame - You & Me 58. Affkt - Kamatoro 59. Nichols Roark, Fernando Olaya, Gorkiz - Time Space 60. Ariel Stamile - Watanga Spirit 61. Sanders Soul, Vibe Beside - Chukotka 62. Third Son - Ptolemy 63. Westend, Max Styler - Rhythm Machine 64. Kostya Benjamin - Broken Dreams 65. Rauschhaus, Greta Meier, Gai Barone - Painting In The Sky 66. Hidden Empire - Turnout 67. Rufus Du Sol - Inhale 68. Evoxel, Amiel Adany - Down To The Beat 69. Deep Dish, Haft & Peyman S - Flashdance

Less than a year after it arrived in the West End, it has been announced that Disney's HERCULES will conclude its run in London.This perhaps surprising news has invited speculation as to why the popular show is ending so soon, and which show might be next at Theatre Royal, Drury Lane?Is this the soon to be announced West End home of THE GREATEST SHOWMAN, or is Broadway going to be that musical's next destination after its Bristol world premiere?Check out Mickey-Jo's thoughts in this theatre news recap...•00:00 | introduction02:34 | Hercules closing 07:14 | why is it closing?11:22 | The Greatest Showman 16:14 | something else?21:44 | Hercules' futureAbout 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 95,000 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.

Morgan VanderlaanMorgan is a junior at the University of Florida majoring in political science and English with seven years of experience in lyricism, playwriting, and directing. Her plays have been produced by multiple regional theaters including the Hippodrome and the AcrossTown Repertory Theatre in Gainesville, FL. With a background in poetry, she has been awarded by the Scholastic Art and Writing Awards for her words. This past summer she worked in London as a screenwriting intern and entered in a festival at Riverside Studios where she received her off-West End debut with a ten minute piece entitled "Ants." Nicolas ChaliseNicolas is a junior at the University of Florida majoring in music composition and has been writing music for as long as he can remember. As a composer, lyricist, music director, vocalist, violinist, and pianist, his passion for music drives his ambition toward innovation both in the concert hall and on stage. In both Spring and Fall of 2025, he has been a featured composer in the University of Florida Undergraduate Composition Concert. From string quartets and chamber music to pop-styles and song writing, he is always eager to create musical moments which capture the essence of human experiences.Website

In this live video chat recorded Friday, Feb. 15, 2026, Charlotte Ledger reporters discuss some of their coverage from the week:* Opposition increases over plans to expand I-77 near uptown* Early voting starts for the March 3 primary* New job numbers show Charlotte was No. 2 in the country for creating jobs in 2025, behind only New York City* A closer look at a mixed-use project in Charlotte's West End — and what it might mean for similar projects elsewhere in the city* The start of soccer season for Charlotte FC and Carolina Ascent* Valentine's Day flowers are costing more this year — with our panel's tips on gift-giving if you don't yet have a plan… and more!Need to sign up for this e-newsletter? We offer a free version, as well as paid memberships for full access to all 6 of our local newsletters:The Charlotte Ledger is a locally owned media company that delivers smart and essential news. We strive for fairness and accuracy and will correct all known errors. The content reflects the independent editorial judgment of The Charlotte Ledger. Any advertising, paid marketing or sponsored content will be clearly labeled.◼️ About The Ledger • Our Team • Website◼️ Newsletters • Podcast • Newcomer Guide • A Better You email series◼️ Subscribe • Sponsor • Events Board • Merch Store • Manage Your Account◼️ Follow us on Facebook, Instagram, X/Twitter, LinkedIn This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit charlotteledger.substack.com/subscribe

Sam Glen recently completed his run in The Book of Mormon. Sam's theatre credits include: Flute in Midsummer Mechanicals (Shakespeare's Globe), Nigel in Ticket Time: 100 Word Plays (Oldham Coliseum Theatre), Billy in The Kitchen Sink (Oldham Coliseum Theatre), Charlie in The Visitors Book (Hope Mill Theatre), Billy Jenkins in A Letter to Boddah (Hope Mill Theatre), Curan in King Lear (Manchester Royal Exchange/Talawa Theatre Company), Curan in King Lear (Birmingham Rep/Talawa Theatre Company) and Marc (Mercutio) in Star Cross'd (Oldham Coliseum Theatre).He has worked extensively on screen, with his credits including Brassic, Doc Martin, Coronation Street, World's End, Doctors, Greater Love Hath No Man, Shameless, The Street, Three Day Millionaire, King Lear: The Film and Two Wrongs.Sam was a contestant on the BBC1 reality show Let It Shine which was a casting search for the Take That musical. Sam made his musical theatre debut in the West End production of The Book of Mormon as the Standby for Elder Cunningham. He went on to take over the role full-time for the musical's most recent UK & International tour.In this episode Sam discusses his musical theatre era and his journey with The Book of Mormon. He also delves into his path into the industry and how he's navigated his career so far. Follow Sam on Instagram: @samglenuk 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.

Inside the City of Kingston | West end supportive housing, tree bylaw and more Supportive housing – West End residents attended sessions to ask questions and raise concerns about a new supportive housing project, with City staff and Ryandale in attendance.  Centre 70 Arena repairs – Restoration work continues after a burst water pipe, with ice time added at other City arenas to accommodate skating programs and tournaments.  Council agenda items – The Feb. 17 Council meeting includes motions related to rural program funding, outdoor rinks, the tree bylaw, provincially run recycling reliability, and a request for a Kingston stop on the proposed high-speed rail line.  City summer jobs – The City is currently hiring for a range of student positions.  Family Day activities – Free activities including public skating, open gyms and badminton are available Monday at community centres across Kingston!  Links & Resources Supportive housing  Centre 70 Council meeting Summer student jobs Family Day activities

Shenoah Allen is the co-creator of the legendary The Pajama Men, as well as a writer, actor and director with credits across the Soho Theatre, the West End, and projects developed with the BBC and HBO - as well as even appearing on Breaking Bad!Now he's now created the dazzling work of genius that is Sunlight with Nina Conti and is currently on tour with Bloodlust Summertime. We discuss:using a monkey mask to tell the most human love story possibletreating the script like a jazz framework rather than a rulebookhow “doing nothing” can be the strongest acting choicethe challenges of leaving a 20-year comedy partnershipturning teenage dread into a solo comedy showand creating something that outlives youJoin the Insiders Club at Patreon.com/ComComPod where you can instantly WATCH the full episode and get access to 20 minutes of exclusive extras including:finding the humour in dangerous teenage experienceshow he pushed boundaries working with Kim Nobleand breaking out of characters to tell the truth on stage

Chancellor Rachel Reeves has outlined her intentions bring down barriers to closer integration with the EU's defence industry - with an eye on its huge spending plans. We speak to the UK industry's trade body to discover what's at stake. And ahead of the publication of the UK's GDP figures for the end of last year, we speak to a businesswoman and a finance expert to hear their thoughts on what the economy needs to grow. Also, musical Billy Elliot is going on tour, more than 20 years after it left the West End. We'll be finding out why shows like this are so important to keep the arts alive outside London.

Northern Territory emergency services have rescued multiple people isolated by flooding in Alice Springs, after storms caused a dramatic rise in river levels.

[REBROADCAST FROM Apr 1, 2025] The Olivier Award-winning musical "Operation Mincemeat" was a sensation on London's West End, before landing on Broadway along with its original cast. But after Feb. 22, they'll be passing the torch to an all-American cast. The show is based on the true story of a daring and implausible British intelligence mission to trick the German forces. David Cumming, Natasha Hodgson, and Zoe Roberts, who co-wrote and star in the musical, discuss the show.Photo by Julieta Cervantes

Welcome back to Season 9 of the Recovering Perfectionist Podcast!In this episode, Christine chats with our newest Dance Wellness Community Ambassador and first one to represent Ballet, Ian Parsons. Ian is an internationally recognized ballet educator, choreographer, and former professional dancer whose career spans elite classical performance, commercial theatre, and advanced professional training. A double graduate of Canada's National Ballet School, he completed both the Professional Ballet Program and the highly selective Teacher Training Program for Former Professional Dancers, earning the Betty Oliphant Award for Excellence in Teaching.As a performer, Ian danced with The National Ballet of Canada and Les Ballets de Monte-Carlo, working with choreographers including James Kudelka, John Neumeier, Jiří Kylián, and Jean-Christophe Maillot. His career also includes appearances in the feature film adaptation of Les Misérables, the Olivier Award–nominated West End revival of Cabaret, and the UK and European tour of Cats, with the distinction of performing at the Olivier Awards at the Royal Opera House.Following his performing career, Ian developed an extensive teaching and leadership practice across Canada, the UK, and the United States. He joined the artistic faculty of Canada's National Ballet School, where he taught across all levels of the Professional Ballet Program, from foundational training through to stage-ready repertoire. During his tenure, he created the school's formalized pas de deux curriculum and served as Manager of the International Exchange Program, overseeing international placements for more than 100 students annually. His students have gone on to perform with companies including The Royal Ballet, American Ballet Theatre, Dutch National Ballet, Boston Ballet, Stuttgart Ballet, Houston Ballet, Tulsa Ballet, The Washington Ballet, Miami City Ballet, and The National Ballet of Canada, among many others.In addition to his work at NBS, Ian has taught and choreographed for professional training programs and institutions in Canada and the UK, including Performers College, The School of Ballet Theatre UK, Chantry School, Canada's Ballet Jörgen, and the Maritime Conservatory of Performing Arts, with choreography presented by Youth America Grand Prix and conservatory-level programs across North America and Europe.Ian's teaching philosophy is grounded in classical rigor, musical clarity, and long-term dancer development. Shaped by years of institutional teaching, curriculum design, and mentorship, his work centers on maintaining uncompromising technical standards while supporting dancers as whole artists, with an emphasis on sustainability, agency, and artistic longevity. Ian is currently the Artistic Director of Ballet Theatre of Phoenix and Convergence Ballet, and is based in Phoenix, Arizona.DANCE WELLNESS COMMUNITY:Join us in the INNER CIRCLE:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://dancewellnesscommunity.com⁠⁠⁠⁠⁠⁠CONNECT WITH IAN:https://www.instagram.com/ianparsonsballet/CHRISTINE BAR NOEL:All The Things! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://beacons.ai/christinebarnoel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/recoveringperfectionistpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/dancewellnesscommunity

The popular musical “The Pajama Game” is a staple in school and community theater productions. The plot revolves around romance and labor issues in a pajama factory. The musical premiered in 1954 on Broadway and in 1955 on London's West End. This version stars the original Broadway cast. John Raitt, father of musician Bonnie Raitt, was known for playing many lead roles on Broadway and in film. He plays the lead character Sid Sorokin. Babe Williams is played by Janis Paige, one of the last stars from The Golden Age of Hollywood. Vernon Hines is played by Eddie Foy, Jr., whose 60 plus year career spanned from vaudeville and theater to film and television.

Joining Clive this week are the actress and singer Keala Settle, who's starring in a newly re-imagined production of John Ransom Phillips' Mrs President.Presenter Michaela Strachan is heading off across the country with her show Not Just A Wild Life, to celebrate 40 years of her career in television.Comedian Ross Noble joins us mid-tour to delve into his Cranium of Curiosities.Star of stage and screen Melvyn Hayes brings along his new autobiography It Ain't Half Late Mum.And there's music from Beverley Knight, who's about to grace the stage in the West End premiere of Marie and Rosetta.Presenter: Clive Anderson Producer: Elizabeth Foster

On this weeks episode of One For The Road I am joined by Steve Smith. Steve was born in Barking, Essex, and grew up in the 80s and 90s on a typical UK housing estate, where childhood meant knocking on other kids' doors, building bike ramps and playing outside until it got dark. His parents loved a drink, but it was always harmless, social fun — garden parties, Christmas and New Year gatherings, with people often coming and going until the early hours. Alcohol was always present, yet never to a point where it was questioned, and from an early age Steve came to associate alcohol with fun. Inspired by the film Cocktail, Steve became a flair bartender and, throughout the 1990s, worked in the West End of London during a time when bartending carried a distinctly rock 'n' roll lifestyle — long nights, heavy drinking and early starts were simply part of the culture. In 2000, he became World Flair Bartending Champion. After losing his mum to ovarian cancer, Steve ran the London Marathon in 2009 for Macmillan Cancer Support, which sparked a long-term love of endurance sport. For many years, that sat alongside a belief that alcohol wasn't an issue — often using marathons as proof of that. In 2020, while training for his first Ironman, Steve decided to take a break from alcohol. The break stuck. Since then, he has completed five full-distance Ironman races and multiple ultramarathons, including the Winter Downs 200 — a non-stop 200-mile race across southern England in December.Going alcohol-free didn't change who Steve was — it changed what he believed was possible.insta: @Steve Smithweb:www.soberilliant.comlinkedin: https://www.linkedin.com/in/steve-smith-5917519a/If you want to connect with me via Instagram, you can find me on the instahandle @Soberdave https://www.instagram.com/soberdave/or via my website https://davidwilsoncoaching.com/Provided below are links for services offering additional help and advice.www.drinkaware.co.uk/advice/alcohol-support-serviceshttps://nacoa.org.uk/Show producer- Daniella Attanasio-MartinezInstagram - @TheDaniellaMartinezhttps://www.instagram.com/thedaniellamartinez/www.instagram.com/grownuphustle Hosted on Acast. See acast.com/privacy for more information.

Since October 2023, the Ohio Department of Transportation and the Kentucky Transportation Cabinet have advanced a new iteration of the Brent Spence Bridge Corridor Project, proposing to replace the existing bridge and expand capacity along I-71 and I-75.In 2025, community engagement sessions in the West End (OH) and Covington (KY) were led by Hub + Weber in collaboration with the Devou Good Foundation's Greater Cincinnati Coalition for Transit and Sustainable Development, A Picture's Worth, and Urbanist Media⁠ as part of a broader people-over-pavement initiative.This audio piece, narrated by Deqah Hussein-Wetzel and produced by the Urban Roots podcast team (Deqah, Vanessa Quirk, and Connor Lynch), centers West End resident voices reflecting on the proposed highway expansion and envisioning more equitable transportation futures.For more information, visit the Sustainable Cincy website.

00:00:00 1 Millero - Rizz (Millero Remix)00:05:27 2 Argy, TNY - Running [TRACK OF THE WEEK]00:08:43 3 Boris Way - Under Pressure00:12:09 4 Cassian, Yotto & Da Hool - Love Parade00:15:18 5 Azooland, mimiiQ - Wanna Have Some Fun?00:18:45 6 Kesha - TikTok (R3HAB Remix)00:22:54 7 FatSync - Anytime00:26:56 8 Karner H, SLAYJAY - So Hot00:30:06 9 A7S - Flashback00:33:19 10 Kaufmann (DE) - Broncho's Sandman00:38:27 11 Matt Sassari, Peter Xan, CHRSTPHR - Rise00:42:20 12 Victor Ruiz, Mila Journée - Stars00:47:28 13 Westend, SIDEPIECE - Take Your Places00:51:09 14 Alesso & Pendulum - FADE00:55:39 15 James Carter - Borderline00:59:08 16 Sam Feldt & Conor Maynard - In Pieces Again [CYB3RSTAR]

The Nemacolin Castle is also known as the Bowman's Castle and is found in Brownsville, Pennsylvania. While the mansion itself dates back to the Victorian era, there are things on the property that go back even further than that with remnants from the former Fort Burd here and even before that from indigenous people. The Bowman family built the castle and three generations lived here before it became the museum it is today. There are claims that nearly a dozen ghosts haunt the property. Join us for the history and hauntings of Nemacolin Castle. The Moment in Oddity features Robert Liston, Fastest Knife in the West End. Check out the website: http://historygoesbump.com Show notes can be found here: https://historygoesbump.blogspot.com/2026/01/hgb-ep-622-nemacolin-castle.html      Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode: (Moment in Oddity) "Vanishing" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Music: Fragments Of Love Produced by Sascha Ende Link: https://ende.app/en/song/12238-fragments-of-love  Nemacolin Castle picture: By Acroterion - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=33363905 Nemacolin collage and pictures courtesy of pabucketlist.com

We have award winning actor Bryan Cranston on the podcast this week! He's the star of Breaking Bad, Malcolm in the Middle, and currently starring in the West End in the play All My Sons, and he's popped round for lunch before his show that evening. We covered everything from working with Tom Hanks, his love of TV dinners, creating a Mezcal brand with Aaron Paul, embracing his fatherly role on every set, his daily routine for London's West End, filming The Studio with Seth Rogen & Catherine O'Hara, and we hear what it was like when he tried mushrooms in Las Vegas during filming! Plus we hear possibly the strangest nostalgic smell any guest has ever revealed on the podcast before… Talking to Bryan was a complete delight, he has the most soothing voice and we could listen to his stories for hours. Basically he needs his own podcast! You can catch Bryan's play All My Sons at the Wyndham's Theatre until the 7th of March, you don't want to miss it. Hosted on Acast. See acast.com/privacy for more information.