East Anglian Theatre Podcast

Ray Tempesta
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  • Performing Arts
  • Semiweekly

A place for discussion and showcasing of theatre across the East Anglian region

  1. 6d ago

    Mark Finbow of The Garage in Norwich, and his aim of supporting theatre and film makers in the region

    Send us Fan Mail Norfolk theatre does not need anyone’s permission to be ambitious, and Mark Finbow is proof of that. I’m joined by Mark, Creative Director at The Garage in Norwich, to dig into what it really takes to programme great work, support local artists, and keep a community venue creatively sharp particularly while times are tough for freelancers. If you care about East Anglian theatre, the arts scene in Norwich, or finding a way into the industry without packing your bags for London, you’ll find plenty to take away. We talk about what The Garage actually does day to day: programming small-scale theatre, comedy, dance and more, while overseeing an enormous participation programme with classes for all ages. Mark shares how artist development sits at the centre of his approach, and why early career creatives need practical opportunities, not just encouragement. We also explore how his earlier community filmmaking work feeds into new plans for teenage and adult filmmaking classes, with a focus on upskilling and making high-quality content. There’s a brilliant deep dive into early years theatre and family audiences, including how sensory needs and first-time nerves can shape the way you build a Christmas show. Mark explains why getting the most anxious toddler through the door can be the best creative brief you’ll ever get, and how The Garage is making early years attendance more flexible for real family life. We also run through what’s coming up in the season and why collaboration across Norwich and Norfolk matters. If you enjoy the chat, subscribe to the podcast, share it with someone who loves local theatre, and leave a review so more listeners can find us. Support the show Visit eatpod.co.uk where you'll find all episodes of the podcast, the reviews we produce, and a page to contact me about getting featured on a future episode.

    Mark Finbow of The Garage in Norwich, and his aim of supporting theatre and film makers in the region

  2. Oct 21

    Come From Away - King’s Lynn Players

    Send us Fan Mail A show that begins in the aftermath of 11 September 2001 has no right to be this joyful, this funny, and this full of heart, yet Come From Away manages it. I’m joined by Beccy Pooley from King’s Lynn Players to talk about why this contemporary musical hits audiences so hard, and why it feels especially powerful in community theatre where ensemble spirit is the whole point. We get into the true story behind the script: Operation Yellow Ribbon, when hundreds of flights were diverted into Canada, and the tiny town of Gander, Newfoundland, suddenly hosted around 7,000 unexpected passengers. Beccy explains how the musical focuses on ordinary people doing extraordinary things, offering food, shelter and calm at a moment when the world felt unsafe. We also talk about what it takes to perform the piece responsibly, from sitting with the gravity of 9/11 in rehearsals to finding the humour and warmth that keeps the story human. If you love the craft of performance, there’s plenty here too: the show’s role-doubling, the challenge of Newfoundland accents, Beccy’s Texan drawl as Diane, and the songs that stay with you long after curtain call, including I’m An Islander, Screech and Me In The Sky. Come From Away plays 11-14 November at the King’s Lynn Corn Exchange, with a Saturday matinee, and tickets are available via the Corn Exchange website or box office. If this conversation makes you think of someone who needs a great night at the theatre, share it with them, then subscribe and leave a review so more people can find the East Anglian Theatre Podcast. Support the show Visit eatpod.co.uk where you'll find all episodes of the podcast, the reviews we produce, and a page to contact me about getting featured on a future episode.

    Come From Away - King’s Lynn Players

  3. Oct 15

    Underdog: The Other Other Brontë by Sudbury Dramatic Society

    Send us Fan Mail   Mean Girls on tour left me thinking about a tricky question: when a show is polished, loud, and brilliantly performed, what makes it truly memorable? I start by sharing my recent theatre reviews, from the UK touring production of Mean Girls the Musical to the darker, sharper end of the spectrum with Switzerland at Theatre Royal Bury St Edmunds. One leans on pop-cultural familiarity and high-octane choreography, the other proves how much tension a two-hander can generate when direction, design, and performance are absolutely locked in. Then I’m joined by Helen Arbon and Ali Crawley from Sudbury Dramatic Society to talk about their latest production: Underdog: The Other Other Brontë. It’s a contemporary, fast-paced, very funny play that's not afraid of adult language, and it takes a fresh swing at a familiar literary dynasty. We get into why Anne Brontë so often becomes the overlooked sister, how the play imagines the family dynamics through Charlotte’s perspective, and what it reveals about rivalry, reputation, and the pressures women faced to be published and believed. We also dig into the practical craft of making community theatre feel bold: staging on three sides at Sudbury Arts Centre, using ensemble actors to become critics, publishers, and voices, and building energy with movement, music, and playful theatrical moments. If you’re searching for Suffolk theatre recommendations, Sudbury Dramatic Society updates, or a smart modern Brontë sisters play, you’ll find plenty to take away here. Subscribe for more East Anglian theatre chats, share this with a local theatre mate, and leave a review telling me what you’re going to see next. Support the show Visit eatpod.co.uk where you'll find all episodes of the podcast, the reviews we produce, and a page to contact me about getting featured on a future episode.

    Underdog: The Other Other Brontë by Sudbury Dramatic Society

  4. Oct 6

    Rae Mainwaring - Bright Places (Carbon Theatre)

    Send us Fan Mail A diagnosis can steal your plans in an instant, but it can also rewrite your creative life in ways you never saw coming. I’m joined by playwright Rae Mainwaring to talk about Bright Places, her bold, funny, brutally honest play about living with multiple sclerosis, and why she wanted audiences with MS to finally see something real and hopeful reflected back at them. Rae breaks down what MS actually is, including relapsing remitting MS, how symptoms can shift over time, and why “you look well” can land so painfully when fatigue, pain, and sensory weirdness are happening out of sight. We dig into the chaos of being diagnosed at 23, just as adult life is meant to be opening up: work, money, travel, independence, and all the big choices suddenly feel uncertain. Bright Places tackles that disruption head-on, using three performers to play different versions of Rae and letting the story swing between laugh-out-loud moments and raw vulnerability. We also get practical about accessible theatre. Rae explains creative captioning that is built into the design of the show every night, not tucked into a corner or saved for a single performance. If you care about disability representation, invisible illness, and what modern UK theatre can do at its best, this conversation is for you. Bright Places tours the UK, including Chelmsford Theatre on 8 October and Ipswich’s New Wolsey Theatre on 20 October, with details at carbontheatre.org.uk. If you enjoy the podcast, subscribe, share it with a theatre-loving friend, and leave a review so more people can find these East Anglian theatre stories. Support the show Visit eatpod.co.uk where you'll find all episodes of the podcast, the reviews we produce, and a page to contact me about getting featured on a future episode.

    Rae Mainwaring - Bright Places (Carbon Theatre)

  5. Oct 4

    Hi-De-Hi! by CSODS at Sheringham Little Theatre

    Send us Fan Mail A holiday camp in the 1950s, a cast full of big personalities, and a sitcom so many of us can still quote even if we have not seen it for years, Hi-De-Hi! is heading to Sheringham Little Theatre, and we are going behind the scenes with the people bringing it to life. I’m joined by Andrea Wilson and Robin Taylor from Cromer and Sheringham Operatic and Dramatic Society (CSODS) to talk about why this classic British comedy still works, what audiences can expect from the stage version, and how nostalgia shapes the way we watch live theatre. Andrea shares what it is like stepping into Peggy Ollerenshaw’s shoes, including the excitement of playing such a recognisable character and the very real pressure of doing an iconic role justice. Robin talks about playing Barry Stuart-Hargreaves, the bickering marriage dynamics that drive some of the funniest moments, and how the script pulls together familiar situations so fans of the original sitcom feel instantly at home, while newcomers still get a clear, light-hearted story. We also get properly practical about local theatre making. Robin lifts the curtain on the Hi De Hi! set build, from juggling the staff room and Jeffrey’s office to shifting into the Hawaiian ballroom, all within the limits of a small-stage venue, plus a few “cunning tricks” to make key moments land. If you love East Anglian theatre, amateur dramatics, British sitcom adaptations, and the craft that turns community effort into a brilliant night out, this one is for you. Subscribe for more theatre chats, share the episode with a fellow theatregoer, and leave a review so more people can find the show. Support the show Visit eatpod.co.uk where you'll find all episodes of the podcast, the reviews we produce, and a page to contact me about getting featured on a future episode.

    Hi-De-Hi! by CSODS at Sheringham Little Theatre

  6. Sep 29

    Dracula: The Last Voyage of the Demeter (Growing Theatre)

    Send us Fan Mail Dracula isn’t just a castle, a cape, and a bite in the dark. Sometimes the most unsettling part is the journey, a sealed space where escape is impossible and every creak of timber sounds like a warning. That’s why we’ve fallen hard for Dracula: The Last Voyage of the Demeter, a gothic horror play that zooms in on the ship that carries Dracula towards England and asks us to live inside the dread, scene by scene, person by person.  I’m joined by director Harry Quirk plus cast members Rebeka Igneczi and Soledad Strangward from Growing Theatre to talk about bringing Sean Carney’s script to the UK for the very first time. We dig into what makes this take feel fresh for Dracula fans, how the story stays tense even when you know the voyage is doomed, and why the structure feels almost like a mystery, with revelations arriving through Dracula’s point of view. Along the way we get into strong character writing for Elizabeth and Jessica, the impact of gender-blind casting, and what it’s like rehearsing a play built from tight, focused encounters rather than big ensemble blocks.  We also zoom out to the wider East Anglian theatre scene: the projects that keep artists busy between shows, the value of local variety nights, and those bucket list roles we all secretly carry around. If you’re searching for East Anglian theatre recommendations, a new Dracula adaptation, or details on the Headgate Theatre in Colchester and the Maddermarket Theatre in Norwich, you’ll want this one queued up.  If you enjoy the chat, subscribe, share the episode with a theatre-loving friend, and leave us a review so more people can find the podcast. Support the show Visit eatpod.co.uk where you'll find all episodes of the podcast, the reviews we produce, and a page to contact me about getting featured on a future episode.

    Dracula: The Last Voyage of the Demeter (Growing Theatre)

  7. Sep 22

    Into The Woods - Gorleston Pavilion Theatre

    Send us Fan Mail Fairy tales are meant to be safe, tidy, and finished by the time the curtain falls. Into The Woods is what happens when you put those stories in the same world, let them crash into each other, and then ask the awkward question: what comes after you get your wish? Ray chats to director Thom Bailey and performers Dean Kenneth and Taryn Taylor ahead of Gorleston Pavilion Theatre’s production of Stephen Sondheim and James Lapine’s Into The Woods on the Norfolk/Suffolk coast. We break down what the show really is, for anyone who only half-knows the title: a musical theatre “multiverse” of Cinderella, Jack, Rapunzel, Little Red Riding Hood and more, anchored by the Baker and the Baker’s Wife as the most recognisably human pair on stage. Thom explains why he sees this piece as a masterpiece, and we dig into the craft that makes it hit so hard. The score is famously complex, with rapid lyrics, tight timing, and music that mirrors natural speech, meaning the acting and the singing are inseparable. Dean and Taryn share what it takes to learn it, what it feels like when it finally clicks, and why audiences should expect proper belly laughs in Act One followed by a twist that turns the whole thing on its head. We also chat about getting into theatre, juggling productions, local highlights, and why staging ambitious work in East Anglia matters. If you’re searching for live theatre in Norfolk/Suffolk, Sondheim musicals, or a night out that’s funny, sharp, and unexpectedly moving, this is for you. Subscribe, share the episode with a theatre friend, and leave us a review with your favourite fairy tale character and why. Support the show Visit eatpod.co.uk where you'll find all episodes of the podcast, the reviews we produce, and a page to contact me about getting featured on a future episode.

    Into The Woods - Gorleston Pavilion Theatre

  8. Sep 15

    Episode 138 - Burn Baby Burn: LA Inferno (Slackline Productions)

    Send us Fan Mail A wildfire takes everything, then a comedian picks up a ukulele and decides hope is still allowed. We’re joined by writer-performer Erin Hunter and director Kristen Duffy to talk about Burn Baby Burn LA Inferno, a funny, poignant one-woman show born from the LA wildfires of 2025 and the real loss of Erin’s parents’ home. It’s a frank, warm chat about what it means to make theatre from fresh grief, and why “tragicomedy” is not a dodge but a survival strategy. We get into the craft choices that make the show land: character work that spoofs celebrity culture and influencer detachment, the politics you can’t ignore when disaster strikes, and the quiet comedy of family dynamics when you’re trying to protect the people you love from 6,000 miles away. Kristen shares what Slackline Productions brings to the process, including a clear mission to champion women 35+ on stage and screen, and why a solo show can be one of the hardest formats to shape when you want it to be clear, human and genuinely funny. There’s also plenty for local theatre fans: quick-fire reviews of On the Edge at Sheringham Little Theatre, Wild Arts Theatre’s stripped-back The Marriage of Figaro at Norwich Theatre Royal, and The Pantaloons’ four-hander Twelfth Night. We finish with Burn Baby Burn LA Inferno tour dates across Sudbury, Cambridge and beyond, plus how to keep up with ticket info and future shows. If you enjoy smart theatre chat and new work with bite, subscribe, share the episode, and leave us a review. Support the show Visit eatpod.co.uk where you'll find all episodes of the podcast, the reviews we produce, and a page to contact me about getting featured on a future episode.

    Episode 138 - Burn Baby Burn: LA Inferno (Slackline Productions)
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About

A place for discussion and showcasing of theatre across the East Anglian region

Information

  • Creator
    Ray Tempesta
  • Years Active
    2022 - 2026
  • Episodes
    146
  • Rating
    Explicit
  • Copyright
    © 2026 East Anglian Theatre Podcast
  • Show Website
    East Anglian Theatre Podcast