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She’s the Olivier Award-winning theatre star with a voice powerful enough to rival the greats. From her show-stopping turn in Ghost to her acclaimed performance in Show Boat, she’s built a career defined by fearless choices, constant evolution and a commitment to sharpening her craft. Now, she’s stepping into something entirely new with the heart-opening musical Ballad Lines, playing at Southwark Playhouse Elephant.

Just moments before she heads on stage, we dive into the emotional power of stepping into a brand-new world with Ballad Lines, why this project feels unlike anything she’s done before, and the beauty that comes from embracing the chaos of constantly pushing yourself as an artist.

We talk about the importance of centring female stories in mainstream theatre, the thrilling risk of performing in intimate spaces, and why she’s proudly made a habit of “emotionally destroying” audiences — something that might become her niche.

There’s also time for camp costumes in Cinderella, discovering the richness of the warmer tones in her voice, and the unexpected — and rarely discussed — realities that can follow an Olivier win, including the surprising stretches of not working.

Plus, she reflects on the “beautiful” experience of Becoming Nancy in Birmingham and why theatre should belong to audiences everywhere — not just those in London.

Host: William J Connolly

Produced by: William J Connolly/Darren Bell

southwarkplayhouse.co.uk
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He’s the Olivier-nominated stage and screen actor currently captivating audiences in the title role of the extraordinary new West End musical, The Unlikely Pilgrimage of Harold Fry— a production that explores the power of perseverance and the importance of never giving up on oneself.

Direct from his home, its leading star reflects on what it means to take on a project as meaningful as Harold Fry, the powerful emotional response from audiences and why he describes himself as feeling both “honoured and blessed” by the reception of two mature leading characters in a London musical. We also celebrate his “extraordinary” co-star Jenna Russell and collaborating with the all-star creatives on this project, including chart-topping singer-songwriter, Passenger. 

And we learn how this project had penetrated beyond the stage and into his personal life, encouraging him to approach others — and the world around him — with greater empathy and love. 

Plus, he reveals his rather unexpected favourite musical, recalls some of his favourite memories from filming the iconic The Full Monty movie in South Yorkshire — including the famously revealing strip-tease scene — and reflects on his life-long connection with the York Theatre Royal

Host: William J Connolly

Produced by: William J Connolly/Darren Bell

haroldfrymusical.com
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He’s the Tony and Olivier-winning producer behind some of the most extraordinary theatre of our time — renowned for bold mega-casting, powerful storytelling and ground-breaking productions. With War Horse, The Curious Incident of the Dog in the Night-Time, People, Places and Things, Cock, Othello, The Lion, the Witch and the Wardrobe, The Roommate, Death of a Salesman and, of course, Company, to name but a few. 

Now, in his latest adventure, he brings Rachel Joyce’s beloved novel The Unlikely Pilgrimage of Harold Fry to the stage — directed by Katy Rudd, with music by chart-topping songwriter Passenger, and led by theatre icons Jenna Russell and Mark Addy.

In this exclusive conversation, recorded just days after the show began previews at the Theatre Royal Haymarket in London, we dive into the journey of Harold Fry and why this story had to become a musical — not a play, as one hilarious meeting with author Rachel Joyce confirmed.

We also uncover the joyful and unexpected connection between Curious Incident and this new show, and hear how returning to the original material became a deeply personal experience, helping him process grief following the loss of his mother when re-visiting the novel.  

We also talk candidly about the realities of producing in the West End and Broadway — why success is never guaranteed, even with a hit on your hands — and the major productions that very nearly didn’t happened.

And yes, we go deep on Company: the genesis of that now-iconic revival, the bold changes made along the way, how you persuade Stephen Sondheim to update a masterpiece, working with artists like Jonathan Bailey and Patti LuPone — and why, for him, a life in theatre is really just one long journey of joyful, fearless experimentation

Host: William J Connolly

Produced by: William J Connolly/Darren Bell

haroldfrymusical.com
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She’s belted her way through SIX, Rent, Pretty Woman and Kinky Boots — and now she’s taking the wheel in the final chapter of Alicia Keys’ smash-hit, semi-autobiographical mega-musical, Hell’s Kitchen. But how do you sum up a journey that’s taken her from standby to leading role — stepping into the spotlight after stars like Shoshana Bean and Jessica Vosk?

In this exclusive conversation direct from her New York home, we talk stepping into “the hardest role” of her life, the pure joy of going full throttle with a “loud and high” character like Jersey, and why stretching her voice and emotional bandwidth eight shows a week is something she’s leaning into — even when it’s tough!

We talk the musical’s deep connection with young women, why “Pawn It All” is the moment she gets to completely “unleash” every night, and what it meant to receive validation from actual Alicia Keys — including that now-iconic curtain-call performance together — in a true full-circle moment.

Plus, we celebrate the power of swings and standbys, the importance of being honest about when your instrument isn’t at its best and why sharing the stage with co-stars like Ne-Yo and Yolanda Adams meant everything.

And those backstage guests? Patti LaBelle? Michelle Obama? Shania Twain? Dionne Warwick? Susan Sarandon? Cynthia Erivo? Casual.

Host: William J Connolly

Produced by: William J Connolly/Darren Bell

hellskitchen.com
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For this Olivier winner and Tony nominee, theatre isn’t a career choice — it’s survival. It’s the place that held her when nothing else could, the place that quite literally saved her.From her time outside theatres on Shaftesbury Avenue to seeing her own face illuminated above their very doors, it’s a career of absolute dedication to her craft matched with a showering of recognition from both industry and audiences alike.And now, as she steps into a new world – a kinder and more generous one to her soul, albeit still putting her work first – she takes to the stage in the premiere of High Noon, opposite the Billy Crudup.In this exclusive conversation, she opens up about becoming Amy in Thea Sharrock and Eric Roth’s new play High Noon — the power of inhabiting a character not driven by trauma, grounding herself in peace, and finding her voice again through singing for the first time in 30 years.We also return to her seismic performance as Emma in People, Places and Things — “the work of my life,” in her own words — and why theatre will always be a place of profound healing for her. Plus, how she draws inspiration from the fearless brilliance of industry peers like now Oscar-nominee, Jessie Buckley.And in a raw, breathtaking final moment, she shares how the nightly ritual of live theatre “continues to save my life daily.”The Gough Theatre? We should all be so honoured.

Host: William J Connolly

Produced by: William J Connolly/Darren Bell

highnoontheplay.com
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