He’s the Tony and Olivier-recognised writer that’s penned some of the most impactful pieces of work of the last 20+years. 

From Glorious! to End of the Rainbow and now Allegra - alongside many, many others – his work has brought soaring female-led stories to the forefront of our industry, often with an added live music element, too.

To mark the final performances of his new hit Allegra – led by Dame Maureen Lipman - we dive into life back in the West End and why there’s a power in writing for comedic joy, being reunited with Maureen after their legendary work on Glorious! and how personal loss in his life was the unexpected real-world inspiration for his new show.

We also talk all things End of the Rainbow, having leading stars like Tracie Bennett and most recently Jinkx Monsoon play the leading role, and why the show is more of a comedy than people expect - even through the tears and struggles - and, he reveals how, in one rather peak period in his life, he actually wrote both Glorious! And End of the Rainbow within the same 6-months period. 

Plus, he lets us into his mind on everything from inspiration and ideas to story and construction on the page, how he continues to write two or three plays each and every year, and why sometimes not having a plan is “good” for the writing journey.

Host: William J Connolly

Produced by: William J Connolly/Darren Bell

allegraplay.com

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Tina Sinatra isn’t sure if the pride will land first, or the tears. At the point of which we connect, it’s the latter. 

Sat in her hotel room just hours before the West End premiere of a musical that honours the life of her parents - promising to “sustain him and honour him” when talk turns to her rather famous father, Frank - there’s a cocktail of emotions and pressure starting to build. 

With a book by two-time Tony Award-winner Joe DiPietro and directed and choreographed by Olivier Award-winner and three-time Tony Award-winner, Kathleen Marshall, the daughter of one of the most famous men in music history knows the story of her family and how much they mean to music lovers throughout the generations - and is ready to introduce them to a new offering; Sinatra: The Musical, a show about the music, the man and showing the world just how strong her mum really was.

Having its premiere now in London, a city that she reveals was Frank’s second favourite to play of anywhere across the globe - we all know where the first is! – Tina explains why this is a chapter she wants fans to throw their arms around, saying that she is “so happy” with the results of the musical.

Guaranteeing that it shows Frank’s life in both the good and the ugly, the emotion of seeing her parents lives play out on stage with real humans and the added punch of the songs evokes “cheers they (her parents) hear in heaven” from those lucky enough to sit in the audience and go on this wild ride together. 

And the task of becoming Frank? That’s the job of Joel Harper-Jackson, a leading man that she calls as “phenomenal” as her father - tears returning once again to her eyes. 

So what’s it like to have the life of your family brought to the stage in a BIG and roaring West End musical? Well… emotional pride might be the best way to describe it all, as Tina Sinatra does here in this rather special episode of eleven.

Host: William J Connolly

Produced by: William J Connolly/Darren Bell

Photography by: Gareth Cattermole

sinatramusical.com

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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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