He’s the stage and screen actor that’s earned himself a wealth of fans from across both mediums thanks to his varied and detailed work, with projects like Bridgerton 2, Benediction, Black Beauty, Mrs Wilson, Derry Girls, What It Feels Like For A Girl, Ghosts, Lord of the Rings, Archie, Sweetpea and Wife, to name but a few.

And now, he’s stepping into his first principal stage role to star in Tom Wright’s new play Please Please Me, which plays at the Kiln Theatre until 29th May. 

So here, in an exclusive conversation recorded just as the show began its life at the Kiln Theatre, we dive into the magic of bringing a story like Please Please Me to the stage, including exploring the “complicated” life of Brian Epstein - the unsung, gay legend and ‘Fifth Beatle’.

We also explore the safety of not having an audience all the way to the thrill of a sold-out one, the power of literature and research in building an understanding of the past and how music helps bring people together.

Plus, how he loves jumping between stage and screen to apply his craft to both, becoming a student to leading industry peers and why he wanted to push himself out of his safety zone and honour the legacy of this remarkable music pioneer.
Host: William J Connolly

Produced by: William J Connolly/Darren Bell

kilntheatre.com

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She’s the newly-crowed Olivier winner and certified West End leading star that’s currently delivering the performance of a lifetime as Millicent Clyde in the original London cast of Paddington: The Musical at the Savoy Theatre.

From her time rising through the ranks to starring roles in Hadestown, Cinderella, Death of a Salesman, Murder Ballad and many, many others, she’s earned herself a career on the stage like no other. 

In this exclusive conversation direct from her home, we reflect on stepping into the darkness to spend her days hunting down the most famous bear of all of London as Millicent Clyde in Paddington: The Musical, and why there’s joy in those Pretty Little Dead Things.

Plus, we celebrate the unmatched response to the show, how it’s “tough” to be mean to Paddington on stage when he’s looking directly into your eyes - somebody she describes as “the most perfect specimen” - and why there are cheers and tears every night when the little guy makes his first entrance. 

We also explore the joyful complexities of being a working mum in her 40s in the arts, the “wonder” of singing Anais Mitchell in Hadestown and why Paddington stands for “everything that’s right in the world”.

Note: This episode was recorded before Victoria was crowned with her recent Olivier Award for Best Actress in a Supporting Role in a Musical.

Host: William J Connolly

Produced by: William J Connolly/Darren Bell

paddingtonthemusical.com

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He’s the Tony-recognised director and king of LOL that’s helped bring to life some of the funniest pieces of theatre and film - from Shrek: The Musical to Pitch Perfect, all the way to Sisters, starring Tina Fey and Amy Poehler and his Tony-winning smash-hit show Avenue Q- which now celebrates 20+ years since its first off-Broadway opening back in 2003.
Now the famous singing puppets return to London with a special 20th-anniversary West End production, brought together by the original Broadway creative team.
In this exclusive conversation direct from London, Avenue Q’s original director reflects on the power of singing puppets, tackling topics that seem off-limits until you’ve a furry friend by your side, and what the first reactions were like to the show back in 2003 - including the puppets getting down and dirty in You Can Be as Loud as the Hell You Want (When You’re Makin’ Love).
Plus, the rare task of revisiting a show 20+ years later, updating his material for a new 2026 audience and how Lucy, The Slut’s now infamous performance of Special for the then Prince Charles came about. 

We also dive into key moments from his career including mounting Shrek: The Musical for Broadway (farting ogres and all), working with Reese Witherspoon on the upcoming Legally Blonde prequel series Elle, and why he shares our collective excitement at the new Murder She Wrote adaptation starring Jamie Lee Curtis as iconic mystery writer Jessica Fletcher, which he is set to also direct.

Anybody for a bit of puppet love?

Host: William J Connolly

Produced by: William J Connolly/Darren Bell

avenueqmusical.co.uk

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She’s the Grammy-winning music powerhouse that’s been the soundtrack to our lives for more than two decades and produced some of the most moving music offerings of all-time – few greater than her Tony-recognised musical Waitress, which took New York by storm when it first began performances back in 2016. 

Now, in an exclusive conversation marking the 10th anniversary of the show’s Broadway debut — and as a thrilling new touring production moves audiences across the UK — its Tony-nominated composer reflects on the life-changing journey of writing for Jenna, the pie-maker with a heart of gold.

So direct from Stateside and taking a break from her time in the studio, we deep dive into the original creations of Waitress in this 14-year journey; including overcoming imposter syndrome while writing her first Broadway musical, writing soaring anthems like She Used to Be Mine, Soft Place To Hand and What Baking Can Do — and the honour of bringing Adrienne Shelly’s beloved story to the stage with a history-making creative team.

We also discuss the emotional impact of Jessie Mueller’s original performance, how developing the role with her gave the composer the courage to step into Jenna’s shoes herself and understanding the value of feeling uncomfortable when creating new art.

And she celebrates the power of new storytelling for her show with new faces and new audiences as Waitress tours the UK in this 10th anniversary year. 

Sugar. Butter. Sara.

Host: William J Connolly

Produced by: William J Connolly/Darren Bell

waitressthemusical.co.uk

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She’s the two-time Tony nominee and all-round Broadway icon that’s cemented herself as one of the greatest to treat the boards.

From her star turns in Smash, 9 to 5: The Musical, Wicked, Noises Off and, of course, as Madeline Ashton most recently in Death Becomes Her, comedy, high-belting and joy comes as second nature to her - thrilling audiences and earning her a global army of fans.

And now, she’s coming to the UK this May for a series of solo concerts - marking her return to these shores for the first time since 2018, playing the iconic Theatre Royal Drury Lane. 

So with her best British accent at the ready and direct from her home Stateside, we discuss life post Death Becomes Her as she celebrates the hardest role of her life - her words, not mine - and why Madeline Ashton is the character she now feels closest to - plus, we go deep on the non-stop nature of a leading a comedy-led role like Madeline, the online discourse around audience members filming in the theatre as she explains it can feel like a “violation” to the performers on stage, and she reveals just how her now viral improv wedding moments – including the now brilliant Jet 2 and Grindr ‘brup’ – came about. 

We also talk about the growing love and legacy of Smash, how her performance of Thank Goodness in Wicked being shared online has become an unexpected throwback to her time as Glinda, and how performing for superstars like Beyoncé and Dolly Parton was the greatest of honours.

Plus, for those lucky enough to have a ticket for her now two sold out London shows this May, she shares a peak into new songs in an epic set list of hits that she’s honoured are now associated with her - in a show she promises you will leave “knowing that we are best friends”.

And why above it all, she remains true to her life mantra, by always doing it always for the gaze…

Host: William J Connolly

Produced by: William J Connolly/Darren Bell

lwtheatres.co.uk

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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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As Titanique marks its milestone first anniversary in London’s West End and Broadway sets sail this Spring, the Olivier-winning director and co-writer invites us inside his brilliantly unhinged mind to reveal how his love for the ultimate Canadian music icon helped build a global theatrical phenomenon.

We dive into the show’s key development stages — from cut songs and jokes that didn’t survive the final draft to the iconic leading ladies who’ve steered the production around the world — and why no two performances aboard the Ship of Dreams are ever the same.

He also unpacks the joyful chaos of the improv section, shares some of his favourite outrageous moments from the original Céline and co-creator Marla Mindelle, and explains why “punching up” is essential when making a show of this style — including how Titanique always honours the lives lost on the infamous ship.

Plus: how a bottle of wine and a “what if?” launched Broadway dreams, the alternate titles that nearly happened, and what he thinks Céline herself would make of it all.

Note: This episode was recorded before the announcement of Titanique setting sail on Broadway this Spring.

Host: William J Connolly

Produced by: William J Connolly/Darren Bell

titaniquemusical.com

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