Bite Me: A Buffy podcast-The Harvest

Join Joe Ford and Martyn Havell in this thrilling first episode of Bite Me, as they delve into ‘The Harvest’.

Get ready for a rollercoaster of supernatural adventures, witty banter, a dash of nostalgia and some therapy.

If you’d like to support the show, please check out our ⁠⁠Ko-Fi page⁠⁠

The podcast is available on ⁠⁠Apple Podcasts⁠⁠, ⁠⁠Spotify⁠⁠, ⁠⁠Google Podcasts⁠⁠, ⁠⁠Amazon Music⁠⁠ and ⁠⁠YouTube⁠⁠

Bite Me podcast art by ⁠Penny Smallshire⁠.

Check out Joe’s other podcasts: ⁠⁠Hamster with a blunt penkife⁠⁠, ⁠⁠Finish Big⁠⁠, ⁠⁠Untitled Star Trek Project⁠⁠.

Check out Martyn’s other podcasts: ⁠⁠Bad Wilf⁠⁠, ⁠⁠Running Down Corridors⁠⁠, ⁠⁠Martyn &⁠⁠.

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Kiell Smith-Bynoe

In a recent interview, I had the pleasure of speaking with the talented actor and writer, Kiell Smith-Bynoe. We delved into the creative process behind his upcoming Edinburgh show, “String V Spitta,” and discussed his experiences in the industry. From the inspiration behind the show to the collaborative process with his co-writer Ed MacArthur, Kiell shared valuable insights into the world of acting and writing. In this article, we will explore the main themes that emerged from our conversation, providing a comprehensive analysis of the creative process and its implications. The podcast is linked below.

The Inspiration Behind “String V Spitta”

Kiell’s journey with “String V Spitta” began when he met his co-writer Ed at the Edinburgh Fringe in 2016. The show was born out of their shared love for music and comedy, as Kiell explains:

“Producer Phoebe Burke introduced us, knowing that we were both very musical and had a similar sense of humor. We started talking about our careers and realised that we both had experience in children’s entertainment and a passion for music. That’s when the idea for ‘String V Spitta’ was born.”

Kiell and Ed initially focused on creating the songs for the show before building a narrative around them, a process that deviated from the traditional approach. Kiell explains:

“We did songs first and then built a narrative around that, which is not the orthodox way, I don’t think, but it worked for us. We would meet up every couple of months and stay in the studio until we had a song. We always aimed to find the funniest thing, even if it didn’t make sense. Sometimes the idea of the joke is that it doesn’t really make sense what’s been said.”

The Collaborative Process

Collaboration is a crucial aspect of the creative process, and Kiell emphasises the importance of working with someone like Ed, who shares his sense of humour and passion for music:

“It’s really fun because Ed is extremely funny, and we’re always searching for the funniest thing. We started out working on the songs and then built a narrative around them. We meet up every couple of months and stay in the studio until we have a song. We always had great songs, even some that didn’t make it into the show.”

Kiell’s and Ed’s collaborative process involves constant editing and refining, even during live performances:

“Even as we’re doing the show in London, we’re still trying to edit and find the funniest thing. We make each other laugh and constantly strive to improve the show.”

Incorporating Songs into the Narrative

One of the challenges Kiell and Ed faced was incorporating the songs into a cohesive story structure. Kiell explains their approach:

“For example, we have a rap battle in the show. We wanted to show the rivalry between the characters, and a rap battle was the best way to do that musically. We had to decide where to place it in the narrative. We explored different options, such as whether the characters had met before or were writing based on their stereotypes of each other. Eventually, we found the perfect place for it, right in the middle of the show, as the peak of their rivalry before it all blows up.”

Adapting “String V Spitta” for TV

With the success of “String V Spitta,” there are plans to adapt it for television. Kiell reveals:

“We’re working on the pilot script for the BBC with Ben Bailey Smith, who is the perfect person for it. We’re lucky to have someone with his musical background and experience as a dad. We’re really excited about the potential for a TV series.”

When asked about the difference between writing for the stage and writing for TV, Kiell highlights the freedom and constraints of each medium:

“With stage shows, you have more freedom to do whatever you think is funny. You don’t have to worry about budget constraints or pleasing different companies. On the other hand, TV writing involves more notes and feedback. You have to consider the commercial aspects and the opinions of various stakeholders. But both mediums offer unique opportunities for creativity.”

The Journey of an Actor

Kiell’s journey as an actor began at a young age, and he knew from an early age that he wanted to pursue acting as a career:

“I started acting in school plays and church nativity plays when I was little. But it wasn’t just something I did for fun; I knew I wanted to be an actor. I had a defining moment when I was four years old and played the innkeeper in a nativity play. The audience laughed at my line, and I thought, ‘This is what I want to do.'”

However, Kiell’s path to success was not without its challenges. He spent six years after drama school trying to make it happen, while many of his peers chose different paths:

“It was a long journey to become a full-time actor. I had to work in a call center while pursuing my acting career. Many of my peers from drama school decided to pursue other careers, but I stuck with it. It was a challenging time, but I never gave up on my dream.”

The Transition from Acting to Writing

Kiell’s transition from acting to writing was a natural progression driven by his desire to create:

“I started writing because I wanted to act more. I thought I could make things funnier than what was coming through. I didn’t start calling myself a writer until later, but I always had a clear vision of what I wanted to create.”

Kiell’s experience as an actor has influenced his approach to writing, allowing him to understand the fluidity of scripts and the potential for improvisation:

“I’ve learned that scripts can change even during the final stages of production. On set, you can play with the lines and make adjustments based on what works best. This understanding has made me more open to collaboration and less precious about the words on the page.”

The Challenges and Rewards of Producing

In addition to acting and writing, Kiell has also taken on the role of producer. He discusses the challenges and rewards of producing:

“I’m always looking for ways to make the vision come to life. I’m not the person who says something is too expensive; I believe in investing in the production to make it the best it can be. As a producer, I bring my vision to the table and work with others to bring it to fruition.”

Kiell’s attention to detail and commitment to the creative vision have made him a valuable asset in the production process:

“I have a clear vision in my head, and I’m open to input from others. I want to make the vision as best as possible, rather than cutting corners. I believe in going the extra mile to create something truly special.”

Check out our interview with Joe Pasquale.

Connor Ratliff Interview

Welcome to Episode 1 of Mart Meets, our new podcast where Martyn engages in conversations with fascinating individuals.

In this debut episode, Martyn has an exciting chat with the multi-talented Connor Ratliff, host of the acclaimed Dead Eyes podcast.

Join them as they dive into Connor’s career, the intriguing world of Dead Eyes, his reunion with Tom Hanks, and exciting upcoming Edinburgh shows. Stay tuned for an engaging conversation on Mart Meets!

For information about Connor’s Edinburgh shows, click here.

The Podcast is avaliable on Google Podcasts, Apple Podcasts, Amazon music, Spotify. We also have a smart link.

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RDC-Torchwood:Everything Changes

Martyn, Chris and Abi discuss the first episode of Torchwood. 

In the first episode, aptly titled “Everything Changes,” viewers are introduced to a universe that exists alongside Doctor Who.

“Everything Changes” begins in the bustling city of Cardiff, where a chance encounter thrusts Gwen Cooper, a dedicated police constable, into a clandestine world beyond her wildest imagination. As Gwen investigates a puzzling murder case, she stumbles upon Torchwood, an enigmatic group led by fan-favourite Captain Jack Harkness.

Captain Jack Harkness and his team operate outside the conventional boundaries of law and order, dedicated to protecting humanity from extraterrestrial threats and supernatural occurrences. Torchwood’s diverse ensemble cast includes the tech-savvy Toshiko Sato, the medical expert Owen Harper, and the resourceful Ianto Jones. Together, they form an unconventional yet formidable team with unique skills and their own complex dynamics.


Through Gwen’s eyes, viewers discover a hidden side of Cardiff, where extraordinary events and unexplained phenomena are woven into the fabric of everyday life. The episode immerses audiences in a city filled with secrets, blurring the lines between the ordinary and the extraordinary.


As Gwen becomes entangled with Torchwood, she grapples with the shocking revelation that aliens exist among us. “Everything Changes” unveils the covert battles fought by Torchwood, exploring the complexities of their mission and the sacrifices made to protect humanity. Friendships are forged, loyalties are tested, and the very nature of reality is questioned.

Check out Abi’s production company ⁠TT Productions 23⁠. Toverton Podcast is ⁠here⁠.

Check out Chris’s ⁠Second Doctor audios.⁠

Twitter: ⁠Podcast⁠⁠Martyn⁠⁠Abi⁠.

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Phil Ford interview

Join us as we delve into the creative mind of renowned writer Phil Ford. Known for his exceptional storytelling prowess, Ford has mesmerised audiences with his contributions to television, film, and literature. 
Martyn engages in a thought-provoking discussion with Ford, exploring the intricate facets of his writing journey and the inspiration behind his most beloved works. Unravel the secrets of his creative process as he shares anecdotes and insights into the art of crafting compelling narratives.

The Waters of Mars novelisation is out on 13th of July.

Check out Abi’s production company ⁠TT Productions 23⁠. Toverton Podcast is ⁠here⁠.

Check out Chris’s ⁠Second Doctor audios.⁠

Twitter: ⁠Podcast⁠, ⁠Martyn⁠, ⁠Abi⁠.

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Keith Temple interview

Keith Temple shares his journey novelising his own script for the iconic show Doctor Who. Reflecting on his nostalgia for the target novelisation series and his experiences in the television industry, Keith delves into the challenges and joys of adapting his script for a novel format. His insights shed light on the creative process, the differences between script editing and writing, and the allure of expanding character storylines.

Keith Temple is an accomplished writer and script editor with extensive experience in various genres, including soap operas. With a background in script editing for television shows, Keith has honed his skills in storytelling and character development. His keen insight into dialogue writing and exposition management has marked his career, leading to successful ventures in novel writing and short story publication.

The Podcast is avaliable on ⁠Google Podcasts⁠, ⁠Apple Podcasts⁠, ⁠Amazon music⁠, ⁠Spotify⁠. We also have a ⁠smart link⁠.

Check out Abi’s production company ⁠TT Productions 23⁠. Toverton Podcast is ⁠here⁠.

Check out Chris’s ⁠Second Doctor audios.⁠

Twitter: ⁠Podcast⁠⁠Martyn⁠⁠Abi⁠.

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Alasdair Beckett-King

In this episode, Martyn sits down with the hilarious and talented comedian Alasdair Beckett-King. Known for his clever wordplay and surreal humour, Alasdair has been making audiences laugh for years with his stand-up shows, online sketches, and appearances on TV and radio.

During our conversation, Alasdair takes us behind the scenes of his creative process, sharing insights into how he comes up with his offbeat jokes and sketches. We also delve into his background, from his childhood in rural England to his early forays into comedy and his eventual rise to fame.

Along the way, we touch on some of Alasdair’s most memorable performances and collaborations, including his award-winning shows at the Edinburgh Fringe Festival.

Whether you’re a longtime fan of Alasdair’s work or simply looking for a good laugh, this episode is not to be missed. So sit back, relax, and enjoy the wit and wisdom of one of the funniest comedians around.

For information about Alasdair’s tour, check out his website.

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Exclusive Interview with Tahj Miles: Discussing Death in Paradise and His Journey as a Rising Star

In this episode of the podcast, Martyn sits down with Tahj Miles, a talented actor best known for his role as Marlon Pryce in the hit BBC series, Death in Paradise. Tahj takes us on his journey to becoming an actor, sharing his struggles and triumphs along the way.

Starting at the tender age of seven, Tahj’s grandfather suggested his mum find an outlet for his endless energy, and so began his journey to drama school in Hackney. It wasn’t long before he landed his first role in the musical Oliver, kicking off a successful career in the performing arts. Tahj went on to work on well-known musical productions, such as The Lion King, Matilda, and Bugsy Malone but ultimately found his true passion in acting.

During the podcast, Tahj also discusses his experiences filming Death in Paradise on location in the Caribbean. Despite facing challenges such as weather conditions and adapting to a different accent, Tahj finds it to be an incredibly rewarding experience. He also talks about his relationships with fellow actors on set and how they supported him in his personal and professional growth.

Finally, Tahj reflects on his work playing Simba in the stage adaptation of The Lion King and his experience working with Sir Steve McQueen on Small Axe. Through it, all, Tahj’s passion, dedication and infectious enthusiasm shine through.

Check out Tahj’s podcast here.

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The Return of the Time Lord:
Exploring the Brilliance of
Doctor Who’s ‘Rose’

In this episode, we take a deep dive into the very first episode of the modern revival – “Rose”. Join us as we revisit this groundbreaking episode and explore its significance in the world of Doctor Who. We start by discussing the episode’s plot and characters, including the introduction of the Ninth Doctor, played by Christopher Eccleston, and his companion, Rose Tyler, played by Billie Piper.

We analyse the dynamic and the chemistry between the two actors, and how their relationship sets the tone for the rest of the series. Next, we examine the episode’s themes, including the concept of change and the Doctor’s role as a protector of Earth. We also discuss the episode’s use of humour, action, and drama, and how it balances these elements to create a thrilling and engaging viewing experience. But that’s not all – we also explore the impact that “Rose” had on the wider Doctor Who franchise.

From the revival of the show’s popularity to the introduction of new fans to the franchise, “Rose” set the stage for the modern era of Doctor Who. So join us for a trip down memory lane as we celebrate one of the most important episodes in the history of Doctor Who. Whether you’re a fan of the classic series or a newcomer to the franchise, this episode is a must-listen!

Check out Abi’s production company TT Productions 23.

Check out Chris’s Second Doctor audios.

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Lucy Porter Interview

Martyn sits down with British comedian, Lucy Porter to discuss her TV viewing habits. Her husband’s role in Thor: The Dark World and details about her new tour.

If podcasts aren’t your thing, there’s a transcribed version down below. The transcription was auto-generated.

Wake-up call launches 13th of January. For more details visit Lucy’s website.

Martyn: It’s recording. I figured it out. That’s the thing about being middle-aged now, is I don’t get any of this tech.

Lucy: No. Well. I’ve had to learn really quickly. Because our podcast, you know, we have guests on. My nightmare is I’ll lose the recording. We did one with Martin Sheen. Which was our biggest guest ever! I was hosting the meeting and at the end of it, I was pretty sure that I’d lost the whole thing. I was trying not to, you know, when you’re trying not to show panic? I was saying to the producer, I was like, if I’ve clicked on this, Amanda? But it was fine. The idea of having to call him up and say “Can we do it all again? I pressed the wrong button”. Would’ve been awful.

Martyn: Did I see you all from Croydon?

Lucy: I am, you?

Martyn: I’m from Mitcham, but I was born in Croydon.

Lucy: Yay. But you’re much younger than me, so we probably won’t have anyone in common will we?

Martyn: I’m about five years younger than you. So, maybe.

Lucy: So, the Blue Orchid would still have been there?

Martyn: I was going there when I was 16. Yeah. The blue school kid, as they called it. That’s a local reference for nobody else.

Lucy: I love it. I could talk about Croydon all day. I feel really bad though, that I don’t live there anymore. You know, I feel I’ve betrayed my parents, my roots, and all my friends that still live there are like “when are you coming back?”. Maybe one day.

Martyn: Yeah. I’ve not been there for ages. I live in Epson now.

Lucy: Oh, nice! Well. I’m coming to the playhouse.

Martyn: Excellent, I’ll come and see you. So you’re here to talk about your new standup show, that launches next week, wake-up call. What can you tell our audience about it?

Lucy: Well, given that this is a sort of pop culture podcast. I suppose it is a very middle-aged show. So it’s for people who loved Red Dwarf the first time around.

Martyn: Brilliant, brilliant.

Lucy: That’s the sort of demographic I’m looking for. I was saying the other day that the test of whether it’s a show for you is. Are you wearing an item of clothing you bought in a garden centre? Is the only reason you stay up at night, now if you’ve got a bladder infection? Would you rather watch the repair shop than go clubbing? That’s the vibe of it.

Martyn: It’s great being middle-aged now because nobody really expects anything from me. Nobody expects me to show up to anything.

Lucy: Yes. Oh, God. And if you cancel plans. People are so delighted. It’s that lovely thing of going, listen, I’m sorry, I can’t make that thing we said we’d do. And everybody’s like, “Yay! We stay in and watch TV”.

Martyn: The relief when that text comes around and says ‘I can’t make it’.
Lucy: Yeah and. It’s always great when you’re not the one who’s broken the arrangement, then you can act wounded

Martyn: Oh no.

Lucy: Oh, I was really looking forward to the thing, I didn’t even want to do in the first place. But yeah, I mostly stay in and watch films with my kids and that is bliss.

Martyn: What have you been watching?

Lucy: We constantly watch the Marvel films on a loop basically. We sort of watched them all and then we watched them again. The first time we did it, which was kind of lockdown really, we did release orders, and then we’ve gone back and done them chronologically. Now we are just sort of picking and mixing. I will only really do Guardians of the Galaxy repeatedly. My poor husband will sit through anything. He was in a Marvel movie. The street cred that my kids have.

Martyn: Excellent. Which one?

Lucy: Oh, the worst one. Thor 2.

Martyn: Oh no!

Lucy: But yeah, he plays a policeman that gets thrown across a car park by Natalie Portman.

Martyn: Oh, excellent. Good day at work.

Lucy: Yeah.

Martyn: I’ll look out for him. How do you write a stand-up show? I get how somebody would write a book, but what’s the process for writing stand-up?

Lucy: I mean, it’s very much, the lazy person’s way to write anything. Because you just do a little bit every now and then. And because stand-up constantly evolves. Kind of just snippets and overhead bits of conversation. I have a million notes on my phone. I’ll share some highlights. I’ll have a look. But I will write down something, that then makes no sense to me. Voyage supplies? No. No idea what that is. Lasagne-moussaka. That was because I had written a joke that involved the word lasagna and I wanted to remind myself to change it. Because moussaka is a funnier dish than lasagna. Cat bin lady. I did mention her. So yeah, I basically have loads of notes, loads of different stuff going on. I was recently diagnosed with ADHD, which I was very reluctant to do. I thought, ‘well, you know, I’m 49. Who cares whether you know what’s wrong with me or whatever.’ But it was the best thing that I’ve ever done. The psychiatrist who diagnosed me just basically explained my whole life to me and explained to me why I’m a stand-up comedian. He was like “Yeah. Your brain cannot function in a linear way and it has to go off on tangents. Your executive function is impaired”. So, you know. Things like losing your keys. Being a nightmare with being late and stuff. He’s like “basically it’s not your fault”. I wept with gratitude cuz I was so delighted to finally be absolved from thinking I’m a crap human being.

Martyn: I’ll bet

Lucy: It turns out, I’m just different and special and that’s great. Loads of comedians over lockdown, given the time for introspection, got diagnosed with ADHD or diagnosed themselves. Angela Barns and Shappi Khorsandi have been really good to talk to you. Because you sort of think, ‘Yeah. There’s a reason that we all do this job.’ It’s because we all have high self-confidence, but low self-esteem and no capacity to really concentrate for long periods of time. So, stand-up is just absolutely ideal ‘cause I can like write five minutes and then I get the instant endorphin hit of going out that night. I basically write by kind of just having an idea, then a bit later. I have another one and then I string them all together and make an hour of stuff to take to Edinburgh. Then I split it up and add some bits and make two 40-minute halves to take on tour.

Martyn: It’s interesting you say about getting diagnosed with ADHD because we recently found out my son has autism. When I was reading the list of traits, I was like. Oh, that actually sounds like me. Maybe I should get tested.

Lucy: Exactly. Well, this is the thing. It didn’t exist, like when I was a kid. Obviously, it didn’t exist, as a diagnosis. And then so many people I know. This is what happens. Your kid gets diagnosed with something and you go ‘oh, okay. Yeah, that explains a lot about my life.’ I was kind of quite sceptical about whether it’s useful to have a label and, you know, are we just kind of pathologising normal human behaviour or whatever. But, actually, I think it is just useful to know yourself. It’s just self-awareness really, isn’t it? Thank goodness to our children for getting us to know ourselves.

Martyn: How did you get into comedy?

Lucy: Loved comedy from being a kid. My mum and dad really liked Dave Allen and Billy Connolly and stuff. So that was the sort of formative influence. I was into sort of Indie music and comedy in my youth. The Balham Banana was my club of choice. I went to see Julian Clary when he used to do the Joan Collins fan club and Jo Brand, Mark Thomas, Mark Steele and Jeremy Hardy. So, I just developed this passion for comedy. Then I went to Manchester University and there was a little comedy scene growing there, with people like Caroline Aherne, Steve Coogan and John Thompson. And then I was lucky enough to go and work for Caroline Aherne on the Mrs Merton Show as a guest booker. Which was a phenomenal job to have. She was so lovely and encouraged me to follow my dream of writing comedy. And through that I thought, well, I’ll give, stand-up a go. Even though I wasn’t a natural performer and I’d never done drama or anything like that, I’d always written. I did a little gig at Alexander’s Jazz Bar in Chester. This night was run by the comedy police. These guys dressed up as policemen, and it was like a gong show. You tried to get to five minutes, but if the audience didn’t like it. They’d go ‘woo-woo-woo’ and you’d be truncheoned off the stage by these two policemen.
Luckily it went quite well. And so I just, I kind of fell into it really. But largely it was because I couldn’t hold down a proper job. I was trying to work in TV production and it was a complete disaster because I was always late and really disorganised. Then I tempt for a bit. Luckily, I found comedy and comedy found me.

Martyn: How do you handle heckling?

Lucy: I don’t get heckled anymore. I mean, in the early days, because there were sort of relatively few women doing stand-up. You would get the occasional. “Get your tits out!” or you know “make me a sandwich”. Which was always delightful. But these days, I don’t get heckled at all. Obviously, my audience being my age, they do occasionally have to get up to go to the loo. Or they make a noise when they stand up and sit down, but there’s not really any heckling. It’s all very good nature and polite. I think people don’t heckle so much anyway now. There’s a bit more awareness, that you are the one who’s likely to look like a dickhead rather than the comedian.

Martyn: Yeah, sure. How do you practice material? Do you like a work in progress?

Lucy: I do sort of previews leading up to Edinburgh. Where you sort of let people know, that it might not be very good. But generally what I try and do is just slip in bits of material to the show and see if they work or not. The lovely thing about stand-up is it’s so fluid that you can, you can have an idea and try it out that night, and then if it works, it works. And if it doesn’t, it’s gone. It’s not like doing TV or radio or Indeed podcasts. Where you have the luxury of editing. Or have to think about what works with what. You just give it a go. Then you edit as you and it’s not a pain in the ass, like editing podcasts and other things.

Martyn: Obviously you host a podcast about quizzes.

Lucy: Yeah, with Jenny Ryan.

Martyn: So, you’re a big fan of quizzes. Is there any old-school quiz show, that you would like to revive?

Lucy: Well, I mean. They did bullseye. I think for all of us, it was the definitive quiz growing up.

Martyn: Yeah.

Lucy: And anyone my age Bullseye. There’s just something about it. The combination of Jim Bowen and the contestants and the prizes. It was all of its time and lovely. Then, of course, darts. Who doesn’t love darts? So that to me is the perfect game show. But, I do think Going for Gold is again, something that we all absolutely loved. It was such a great concept, and I think a Pan-European quiz show is what we need to heal the Brexit wound.

Martyn: Yeah. Absolutely.

Lucy: And Henry Kelly, we interviewed Henry Kelly for the podcast and he’s still sharp as a tack and brilliant. So he could come back and do it again.

Martyn: Do people pitch ideas to you for your stand-up?

Lucy: Yes. Or the thing that you get is people saying. “Oh God, you’re gonna use this in one of your routines”. When they’ve just told you the dullest anecdote that you can ever possibly imagine hearing. Very little that is pitched to me makes it in, I have to say. Without being rude to anyone, that’s ever suggested something. But the thing about stand-up is, it has to be so personal, I think, to work. If it’s inauthentic, I think an audience can really sniff that out. I mean, I do occasionally work with writers. I think that comedy writers are brilliant and I have written stuff for other people and worked with other people. There’s a woman called Gabby Hutchinson Crouch, who is amazing and a man called Mike Shepherd. They will help me out and be sounding boards and write stuff based on what I’ve said. That’s just a joy and a delight to work with other people. Because it’s a bit lonely being a stand-up. That’s the only thing I would say to any aspiring stand-ups out there, is the creative process can be quite painful if you really are not having ideas and you’ve got a show to do and it’s just you on your own in a room. That can drive you slightly mad as with all writing, but you know, particularly with standup, when you know you’ve gotta go out and do it in two hours.

Martyn: What were the panel shows like to do? Obviously mock the week is no longer with us, sadly. What was that like?

Lucy: Yeah. Well, I only did that one a couple of times. It was quite Gladiatorial in the early days when I did it. So I can’t say that was a particularly relaxing time. I think I’m much better at them, as I’ve got older because I’m a bit less try hard or whatever. I like ones where you don’t really do much prep. Just a Minute and stuff are really fun to do. And I love doing The News Quiz on Radio Four.
I’m a bit more comfortable on the radio these days, to be honest. Because I think you can be a bit more discursive and it’s less sort of gag, gag, gag. And it’s a bit more sort of flights of fancy and whimsy, which is kind of what I enjoy.

Martyn: The old thing is radio still grasps people’s attention, even though people are doing other stuff as they listen. There’s something about the play of the mind. I feel that audiences maybe concentrate more on radio than they do on TV these days.

Lucy: Yeah, I mean, I love podcasts as well. I do feel like I am the luckiest person, to have been born in this era where audio entertainment is so freely available. You can switch from a sort of gritty true crime thing to two people talking about some, you know, obscure sitcom. In fact, Jenny Ryan, who I do the quizzing podcast, Fingers on Buzzers with. Really want to do a podcast about the Croft and Perry Universe. So working out where the characters in Hi-de-Hi! fit in with the characters from You Rang, M’Lord? Oh, Doctor Beeching! We keep saying we’re gonna do this cuz we’re obsessed with Su Pollard as much as anything else. But I love the fact that you can delve into any aspect of pop culture. I feel very fondly towards my favourite podcast hosts like Phoebe from criminal. I’ve never met her, but I just know that we’d get on.

Martyn: It is like you’re just hanging around with mates when you listen to a podcast.

Lucy: Yeah. It is like a lovely night at the pub sometimes. Which is obviously something that is now less available to me in real life. So yeah, I think that’s why I enjoy it so much.

Martyn: What’s the stand-up circuit been like Post covid?

Lucy: Well, I dunno really. Because the stand-up circuit is, you know, the clubs and pubs and I have been mostly just doing my own little gigs in art centres and theatres and stuff. But, I think it’s sort of back, but the Edinburgh Festival last year was kind of weird because we were all so excited. About the proper festival is back on and then nobody turned up for about the first two weeks and we were like, we’ve all made a terrible mistake. But then it sort of picked up towards the end. But I think people are just. I don’t think it’s even just my age. I think that people are a little bit more tentative about going out and making plans now. There’s definitely a lot more wiggle room for cancellation and you know, people don’t buy tickets. Oh, well, I know I don’t buy tickets to stuff until the last possible minute because I’m always thinking, well, maybe we’ll get ill, or the world will end or there’ll be a train strike. The whole entertainment and hospitality industry is really suffering at the minute and, you know. I one-hundred per cent support the strikes. The country is in an absolute state, isn’t it?

Martyn: Yeah.

Lucy: I think comedy is suffering in the same way that everything else is. But has never been more needed. Of course. I was doing a gig with someone last night and I was saying. “oh, you know it’s pathetic what we do, isn’t it?” And he was like. “No, no. The world’s so awful that comedians are basically key workers now”.

Martyn: Oh, absolutely. Yeah. We need levity.

Lucy: I was like “I don’t think we can say that”. But it is nice to get out.

Martyn: Yeah. Well, it’s weird for me watching the railway strikes. Because I worked on the railway for 11 years.

Lucy: Oh, did you?

Martyn: Yeah. Never had a strike in that in that entire time. But yeah, it’s weird watching. I see former colleagues on the news being interviewed. It’s strange.

Lucy: Well, you left and it went downhill.

Martyn: Exactly. I was doing the job of four people. So what’s Edinburgh like to do normally, because it sounds like an anxiety nightmare to me.

Lucy: Well. It is, but it’s also the most fun you’ll ever have. So it’s high-risk, high reward. For those who have never been, it’s a month of, you know, theatre, comedy, dance, magic and everything being on in every tiny unsuitable room in the city, that they can find. The first year I went up to the festival, I was doing a show with other comedians and we were in the Sea Scouts meeting hall, which was cold and drafty. And every now and then during the show, some Sea Scouts would just wander in and be slightly confused about what we were doing there. But for comedians, it’s like a holiday camp really, cuz you go up to the most beautiful city in the world for a month and you get to sort of swan around looking at pictures of your own face on posters and going out, drinking with your mates until the wee small hours of the morning. And then coincidentally doing a show. It brings out the best in everybody’s creativity because you go and watch other things. I will go and watch more theatre and dance. Things I would never dream of going to see in normal times, really. And I’ll see all this stuff in Edinburgh. It all feeds into your sort of creative process, you end up going. ‘Oh, maybe I could stage my show like that dance piece’. Or that theatre show has made me think about an aspect of my life that I’d never thought about before. It’s absolutely brilliant. And it is also just a really good kind of solid drinking session for a month.

Martyn: Well, what more could you want?

Lucy: Exactly. It’s a perfect time.

Martyn: Alright, Lucy, I know you’re very busy, so I’m gonna wrap it up now. Thank you so much for joining me for this.

Lucy: No, thank you. Really appreciate it.

Martyn: Cheers. Bye.

Lucy: Bye.

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Wake-Up Call launches 13th of January.

Check out Lucy’s podcast, Fingers on buzzers.