Best known to millions as Raquel in the iconic BBC sitcom Only Fools and Horses, Tessa Peake-Jones joins Darren to discuss her latest stage role in the heartfelt new comedy-drama Invisible Me, opening at Southwark Playhouse.

Written by Bren Gosling and directed by Scott Le Crass, the play explores dating, loneliness and the search for connection later in life. Following three very different characters navigating singledom in their sixties, Invisible Me offers a funny, honest and touching look at love, identity and the courage it takes to start again.

Tessa talks about bringing the character of Lynn to life, the realities of representation for older performers on stage, and why stories about later-life romance feel more relevant than ever.

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Our guest this week is director and theatre-maker Jesse Jones, Artistic Director of Royal & Derngate, who joins Darren to talk about bold programming, new writing, and why theatre should never be afraid of dividing opinion.

Jesse’s career spans devised theatre, new writing, large-scale adaptations and West End hits. He co-founded the award-winning The Wardrobe Ensemble and previously served as Associate Artistic Director at Paines Plough.

In this episode we discuss leading a regional producing theatre, protecting risk in new writing, and his latest production Top Gs Like Me by Samson Hawkins, a provocative new play exploring masculinity, identity and online culture.

A thoughtful conversation about bold programming, new voices, and why theatre that divides opinion can sometimes be the most exciting kind.

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This week Darren and Natalie take on three wildly different theatrical experiences - from razor-sharp satire with The Producers and dark musical thrills American Psycho to outrageous operatic comedy - The Opera Locos.

The Opera Locos – Sadler’s Wells

The madcap Spanish company Yllana brings its international hit The Opera Locos to Sadler’s Wells, turning the world of grand opera completely on its head. This riotous comedy follows a group of eccentric opera singers competing for a prestigious prize, but their soaring voices and egos quickly spiral into chaos. Featuring beloved arias from composers such as Mozart, Verdi and Puccini alongside unexpected pop classics, the show blends virtuosic singing with physical comedy, mime and clowning. The result is a playful celebration of opera that proves the genre can be both spectacular and seriously funny.

American Psycho – Almeida Theatre

Rupert Goold returns to the Almeida Theatre with a thrilling revival of the cult musical American Psycho. Based on Bret Easton Ellis’ infamous novel, the show plunges us into the sleek, soulless excess of 1980s Wall Street as investment banker Patrick Bateman hides a terrifying double life. Featuring music by Duncan Sheik, this stylish, darkly satirical musical explores capitalism, vanity and the emptiness of consumer culture. With slick staging and a pounding score, the production captures both the glamour and the horror of Bateman’s world — where appearances are everything and identity is terrifyingly fragile.

The Producers – West End Transfer

Mel Brooks’ legendary musical comedy The Producers storms into the West End following its acclaimed run at the Menier Chocolate Factory. The outrageous story follows down-on-his-luck producer Max Bialystock and timid accountant Leo Bloom, who hatch a scheme to get rich by producing the worst musical ever written. What could possibly go wrong? Packed with showstopping numbers, outrageous jokes and the infamous “Springtime for Hitler”, this revival proves why The Producers remains one of the funniest musicals ever written — a riotous love letter to theatre itself.

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