This time we are talking to Laura Cubitt about her experience as puppeteer and puppetry director. Laura was part of the team that brought the iconic Warhorse, Joey, to life and this is a fascinating insight into a world that is, by it's very nature, secretive if not entirely hidden away. We learn that puppetry has a parallel with lighting; often no-one notices you if you're doing your job well. We hear about the mysterious pleasure to be found in the 'suffering state' and how despite the sweat and cramps, it can be the most thrilling version of performing, with lines of communication akin to a virtuoso jazz trio. We also discover that humans and puppets are successfully holding the line against the onslaught of CGI and AI - in many ways, this interview is a celebration of the humanity at the heart of Making Theatre.

This time we talk to Nick Hytner about forming the London Theatre Company and creating it's first home - the Bridge Theatre at One, Tower Bridge. If like us you ever paused to wonder how someone goes about starting a theatre, this episode provides a fascinating insight into the process. From the hunt for the venue, and the hair-raising rollercoaster of finding investors and securing funding, to the relationship with the architect and the design of the stage, auditorium, foyer and backstage space, we chart the journey of the Bridge from small, scrappy start-up to sell out run of Guys and Dolls. In a wide-ranging interview, Nick also offers some choice observations and sage advice from a directing career that spans forty years and includes a decade spent running that other little place on the South Bank, the National Theatre...

This time we talk to Lucy Carter about her extensive career designing lighting for contemporary dance, her analysis of her working practice and her extraordinary collaboration with choreographer Wayne McGregor, which spans three decades.

The National Theatre is committed to achieving net zero carbon by 2030, the greatest creative challenge it has ever undertaken. This time we are talking to Paul Handley, Production and Technical Director at the NT about his search for a more sustainable model of theatre making.  We hear about the many and varied ways that staff are trying to limit their environmental impact while still delivering world class theatre. We discuss why it is so important to reflect our values not only in the work we make onstage, but in the way we make it. We also reflect upon the need to get away from the language of dreary limitation, how it is the artists who are actually the people who can lead the way forward and while we should be ready to fail, in the words of Samual Beckett, we must ‘try again, fail again, fail better’. We also learn that there’s nothing that can’t be solved with a pencil, a piece of paper…and a fresh white t-shirt. This episode was recorded at the end of 2022

This time, we leave behind the warm, dry confines of the conventional theatre space and head outside for an inspiring conversation with Angie Bual, creative director of Trigger, a company based in the south west of England, who create and produce bold live and digital events, often on a large-scale and often outdoors. With obsessions that range from dragons to upholstery via horticulture and kite-flying, Angie is a brave and compassionate artist, who can talk millions of pounds of funding into existence and makes ambitious theatre without walls. We hear about her remarkable journey from a bespoke performance for a house-bound pensioner in a Glasgow tenement, to the hatching of a dragon the size of a double decker bus on the Plymouth Hoe in front of 30,000 people…

This time we talk to Sarah and Mark about their extensive experience writing and directing pantomime.  Their own particular brand of raucous rock-n-roll panto has been seen for 19 consecutive years at the Liverpool Everyman, during which time,  along side their multi-talented cast of actor-musicians,  they have built a loyal and lively audience. We hear about their unique approach to developing the script, the true intent of the Flowerpot Men, managing the hazards of magic hair, and getting into a panto frame of mind on a beach in mid August. They also talk frankly about the precarious nature  of being a freelancer, but despite having made ther last panto for the Everyman, and facing an uncertain year, rest assured;  it might well be behind you, but it's most certainly not behind them..

For this episode, Bruno adjusts pan and tilt to catch James squarely in the spotlight and focus on his career, and in particular his experience lighting opera.  We discuss the idiosyncrasies of working in this medium, and how it differs from lighting theatre.  We talk about how we respond to music with light, the rewards of getting to know a piece of music intimately, and how having a band in the room always seems to improve things.  We also explore the nature of the 'rep' system and the challenges of making work in some of the biggest repertory opera houses in the world, such as the Royal Opera House in London and the Metropolitan in New York.  While we wait for maestro to finish tinkering with the overture, we also reveal a little of the life we lead on the road, and unpack the secrets of James's kitchen bag...

This time we are talking to Michael Dennis about his career as company stage manager, and his extensive experience of touring theatre at all scales.  We hear about the daily minutiae of managing an acting company, the challenges of making sure everyone feels listened to, and how the CSM is never really fully off duty. We discuss touring theatre in the UK, and the rich and invaluable experience it represents. We also undo years of therapy by reminiscing about theatrical digs...

This time we are talking to Kate Pakenham, an independent producer with a passion for theatre, and a drive to make work with a strong social purpose. We learn how each show can be compared to a mini start-up, and how producing, even when you can line some things up, is always a leap of faith. We discover that a trip to Pret can be surprisingly lucrative, but also that where and who the money comes from can be just as important as the money itself. We hear about when to be in the room, when not to be, and a sage piece of parental advice; when in doubt, make people tea.

We kick off season two by inviting you to the secret world of the west end swing. We discover what happens when a member of an ensemble or a principle cast is off sick, and uncover the remarkable feat of behind-the-scenes organisation that takes place to ensure the show still goes on. We learn about tracks, split tracks, cut shows, a curious condition called ‘swing eye’, the difference between swings and understudies and why 4pm is zero hour. Above all, we learn just how motivated and downright talented you have to be to cut it as a west end swing…