Avsnitt
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In the second half of Jonny’s al fresco chat with Daniel Aukin, we hear about Sam Shepard and The Pocket, the ten year journey, the challenges and the “electrified horror” of making the triumphant, Tony record-breaking Stereophonic, David Byrne’s opinion of the band, the struggle to make a living wage in the theatre- and a plan to change that.
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Jonny’s guest this week is one of the most exciting directors in the English-speaking theatre, Daniel Aukin. Fresh from his Tony award for Broadway’s hit play of 2024, Stereophonic, Jonny and Daniel settle onto a grassy knoll on a beautiful Autumn day in Prospect Park, New York, and discuss celebrity lotus positions, the complications and benefits of the family business, acting epiphanies, the influence of Richard Foreman, what a director is actually for and Sam Shepard’s love of a tightrope.
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Saknas det avsnitt?
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In the second half of his conversation with a hyper-talented young performer already making waves in the acting world, Jonny and Rhea discuss the differences between acting for tv and the theatre, never taking a phone to set, the beautiful words to “Maybe This Time” and not going under playing Sally Bowles. On struggling sometimes with contemporary writing, Rhea’s interest in female rage, why she’s drawn to Hedda Gabler, what pisses her off about the theatre- and plans for her “flip a coin” show.
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Two weeks after she finished her West End run as Sally Bowles in Rebecca Frecknall’s triumphant staging of Cabaret, Jonny sat down with Heartstopper star, Rhea Norwood. They discussed her illustrious predecessors in Cabaret, Alan Cumming’s dressing room being sponsored by a booze company, her Sally Bowles feeling like a car crash (in a good way), wild wee-ing, coping with repetition and the sad story of Jonny being ordered to get stoned by a director. They share memories of the same drama school, being pigeon-holed and wanting her training to be more traumatic; the complications of going off and becoming a global star- then returning to drama school; and how social distancing made her walk towards Kit Connor in an odd way.
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In the second half of Jonny’s chat with the great Christopher Hampton, Sir Chris continues the story of the race to turn his play into the Oscar winning movie, Dangerous Liaisons- and get it out before Milos Foreman‘s rival film; doorstepping a startled John Malkovich; the Queen being sent to sleep by the inaugural play at the National Theatre; the difference between translation and adaptation; his relationship with Paul Scofield, seeing his Uncle Vanya 30 times, why he thinks Scofield was incomparable and the moment when an accident with a gun in Christopher’s play Savages prompted an unforgettable moment of improvisation from the great actor and Yasmina Reza’s horror at what Christopher had done to her play at the first night of Art.
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This week Jonny’s guest is on British theatre and film’s Mt Rushmore of writers. Two time Oscar winning screenwriter Sir Christopher Hampton is one of the finest playwrights of the 20 and 21st centuries and in Christopher’s office in Notting Hill that spawned so much of his work they discuss the conditions he needs to write, sometimes needing to go to a posh hotel to finish a script and writing his first west end play in the pub at 18. The crown prince of youthful prodigies tells Jonny about the lesson of terrible reviews, acting with Leonardo di Caprio, why a Christopher Hampton part blighted Jonny’s daughter’s baby photos, the importance of relationships with theatres from Vienna to LA, winning an Oscar and then being unable to get a film made for six years, why writing plays is hard and writing film is a joy- and the remarkable story of Les Liaisons Dangereuses and its journey to becoming the Oscar winning Dangerous Liasons.
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In the second half of his chat with the Ladies of the Hills of California, Jonny hears about the differences between Broadway and the West End, the realities of being a woman in the acting industry, trigger warnings, whether or not they’ve all been ruined by Jez Butterworth, singing for Sam Mendes and the incredible joy of the shared endeavor they are all undertaking onstage.
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This week, Jonny’s guests are four actresses: Helena Wilson, Ophelia Lovibond, Leanne Best and Laura Donnelly, who together embody the Webb Sisters in Jez Butterworth’s play, The Hills of California. Currently running on Broadway, Jonny and the ladies chat interesting name rebrands that would turn heads on a Broadway marquee, life-changing cookies, harrowing early stage experiences, holding a kind of theatrical fire in their hands onstage, what happens when Jez Butterworth radically rewrites the play you’ve done 150 times, moving like seaweed together, Jez’s addiction to emergency and what its like to be directed by Sam Mendes.
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In the second part of Jonny’s conversation with Bobby Cannavale, Jonny hears about the utterly life-changing experience of working with the great theatre artist Al Pacino, reading the play every day when he’s in performance, what is the joy of acting, being an audition reader and what it taught him about trying to get a job, they debate the pronunciation of Godot, we hear about the time Bobby made sure an audience member will never let their phone ring again in the theatre, F Murray Abraham hiding his Oscar onstage, why he wants to be terrified by Shakespeare and what was the Elizabethan‘s personal portable ring light.
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Jonny’s guest this week is two time Emmy winner (for Will and Grace and Boardwalk Empire), two time Tony nominee and perennial engine of fun, Bobby Cannavale. Jonny could talk to Mr Cannavale every day. And very nearly did. They talk about shared experiences (a love of apples, playing Jason in Medea at BAM’s Harvey Theatre, working with talented wives), Bobby’s affection for reading plays as a kid, being a nine year old gangster in Guys and Dolls, intellectual insecurity and the qualities that attracted mentors like Sidney Lumet, Lanford Wilson, George C Wolfe and Al Pacino. Bobby explains how he understands the importance of the event, why he’s always ready for the fight and the fateful night when he sat next to Pacino at the Tony awards.
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The second half of Jonny’s chat with Cynthia Nixon ranges from playing a version of Marina Abramavich, staring at her costar for 20 minutes before the show (and being helped by a lozenge) to Williams Hurt, David Rabe and their rebellion against Mike Nicholls. From why her first Tony-winning performance as a bereaved mother didn’t capsize her, to whether actors can have qualms about using personal details from their lives. From her run for governor of New York, politics and its relationship to acting, why Andrew Cuomo isn’t Shakespearean but Cynthia is Portia, why she wants to go back to acting class and how being directed feels like her mother’s love.
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Jonny’s guest this week is a colleague of his on the new season of HBO’s And Just Like That, she’s Ada Brook in The Gilded Age, she’s won two Tonys, two Emmys, two SAGs and a Grammy, she ran for Governor of New York, she performed two shows on Broadway at the same time and forced Equity to outlaw anyone ever doing so again, for a generation of Sexers of the City she will always and forevermore be Miranda Hobbes, she is the one and only Cynthia Nixon. A child actress since she was 11, Broadway debut at 14 and New York theatre royalty ever since, Jonny shimmied along the hall from his dressing room to Cynthia’s to talk about her remarkable life in the theatre.
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In the second half of Jonny's chat with James Corden they discuss OCD and it's links to actor's superstition, James tells the story of delaying the play so he and the audience could watch England win on penalties, the brilliance and oddness of The History Boys, taking a vow of stupidity with Nicholas Hytner, letting down Richard Griffiths and finally getting a burst of Uncle Monty, breaking down the magic of the show that made him, smacking the well-fed rump of a mango-coloured real estate developer from Queens, getting a scoop on James's idea for a new play and his theory about the future of theatre.
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Jonny's guest this week is none other than the man who gave the world Carpool Karaoke, took Paul McCartney back to his childhood, became the star of American late night by playing a man who fights with himself onstage, the writer and star of Gavin and Stacey, the man who'll always be a History Boy - James Corden. On his return to the London stage after a 12 year absence, James and Jonny sit down in his dressing room at the Old Vic to talk coming home, making late night tv into a 1,198 night variety show, mountaineering advice from Chris Evans, being a shy extrovert, the magic of Mathew Warchus, loving a line reading, why actors should take lessons from Formula One, how his pre-show rituals nearly capsized him, the best way he knows to handle nerves- and strap in for the terrifying description of a day at the Late Late Show up until the moment he's completely alone.
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Jonny’s guest this week is the actor, theatre maker, political activist and Bolton royalty- Maxine Peake. Two weeks into devising her new theatre piece, Robin/Red/Breast, Maxine gave up a lunch hour to talk about the goddess MAAT, playing legendary singer Nico, walking audience members round the block while they processed what they’d seen, the loneliness of one-person shows, audience interruptions while performing Beckett (including the hazards of letting children kick a ball against Winnie’s mound), Ray Winstone’s mate who didn’t fancy watching the play, playing her famous Hamlet, her twenty year collaboration with director Sarah Franckom, not being “wired right” as a hyper empath, escaped cavalry horses and how everything is political.
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The second part of Jonny’s chat with the great Alan Cumming ranges from why black joy, queer joy and trans joy feels like an act of resistance - to dealing with Joan Collins in his dressing room after playing a concentration camp inmate in Bent. It goes from going under while playing Hamlet to going under, naked, in an onstage swimming pool after singing George Michael’s 'Father Figure' - and emerging with eczema. It includes a discussion of saying the most explosive word onstage, completely committing to something you don’t think works and how people’s reaction to his penis gave him the idea for his new one man show. Facelifts, freedom and remembering Alan’s smile from the opening night of Sam Mendes Cabaret at the Donmar in 1993, the first time the world met his unforgettable MC.
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Welcome to Season 4 of SDJ and who better to kick it off with than Olivier award winner, two time Tony award winner, BAFTA winner and the man who just won his second Emmy award for hosting The Traitors US- Scottish icon, national treasure, the Dionysus of 21st century theatre, the eternally youthful Alan Cumming. In Act 1 of their two part chat, Alan and Jonny have a frank, funny and freewheeling conversation that ranges over the power of saying yes, what The Traitors has taught him about acting (and why its like being double-jointed), his problem with the Method and the best piece of acting advice he’s ever received. They talk about bravery, the influence of Alan’s childhood, how his one man dance piece about Robert Burns in his fifties nearly ruined him, his fascination with portraying mental illness onstage - and giving people permission to dislike you.
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As a prelude to the new season of the podcast, Jonny remembers one of our greatest ever theatre artists, Dame Maggie Smith. In 2023 Jonny interviewed her son, the actor Toby Stephens, and his stories of his brilliant mother are a fitting tribute to a performer who was unlike any other. You can listen to Jonny's conversation with Toby in full here.
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After the interval, Jonny hears how Matthew Broderick was pulled out of depression by a play from an unknown writer called Harvey Fierstein; doing things his own way as a young actor; the incredible story of the day his life changed forever- and the sadness underneath it; the last conversation he ever had with his father and how his dad’s example revisits him onstage; why he can drive directors mad; why Nathan Lane thinks he’s like the Warner Bros frog; the pressure to be funny; his love for Neil Simon and the failure that seems to always await the giants of American theatre; the rollercoaster of a life in American theatre and getting together with Robert de Niro to fight Donald Trump.
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In the last double episode of the current season, Jonny rounds off by talking to a bona fide star who’s been one almost all his acting life: two time Tony Award winner and, for a generation of movie-goers, the patron saint of being young- Matthew Broderick. Matthew is the star of movies like Ferris Bueller, Brighton Beach Memoirs, Election, You Can Count on Me and The Producers, but his career in the theatre has been immense, not least the five plays of his great mentor and collaborator Neil Simon. The last of these, Plaza Suite, with his wife Sarah Jessica Parker has brought him to London and in his dressing room at the Savoy Theatre, he tells Jonny about the magic of the magic of stage doors, reveals intimate details of his dressing room, the enduring fascination of Joan Collins, doing two shows on his birthday, Ferris Bueller and the pain of growing up, getting the silent treatment from John Hughes, acting with his dad, his triumph as Wall in Midsummer Night’s Dream and the tragic story of the big break that nearly broke him.
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- Visa fler
