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.

Ghosts to end with series 5

The fifth series of Ghosts has wrapped up filming and the show’s creators have announced that it will be the final season. In a statement on social media, the team expressed their gratitude to the cast, crew, and fans of the show, while also hinting at exciting new projects in the future. 

The BBC’s Director of Comedy, Jon Petrie, expressed his sadness at the show’s end, while Alison Carpenter, Creative Director at Monumental, praised the show’s success and impact on audiences. 

Ghosts stars Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard, and Ben Willbond, with Charlotte Ritchie, Kiell Smith-Bynoe, and Lolly Adefope. The upcoming fifth series will see Alison and Mike exploring new opportunities, potentially altering the afterlives of the Ghosts. The fourth series, which premiered in Autumn 2022, was a hit with audiences, drawing in 5.7 million viewers for its first episode. It was also nominated for a BAFTA award for Best Scripted Comedy. 

The cast said in a joint statement: 

“After five incredible years haunting the halls of Button House, we have decided that the time is right to let our beloved sitcom Ghosts rest in peace. We have just wrapped filming on our fifth and final series and we can’t wait to share it with you all later this year”.

Review-The Ghost of Christmas (Ghosts Christmas special)

Alison and Mike are hosting Christmas at Button House, with his family joining them. Mike has taken control and is determined everything run as smoothly as possible. However, with a house full of ghosts and interfering parents, it’s not long before “the incredible sulk” has one of his annual meltdowns. As for the ghosts, they’re not big fans of Christmas.

It turns out the festive season isn’t much fun if you’re dead, Julian says “it’s just not the same when you’re dead. Can’t drink booze, can’t flirt with the filly’s at the Christmas Party if you can’t do that. What’s the point?”.



It’s Julian that takes most the focus of the special when a new arrival forces him to confront his old behaviour. Throughout the episode, he has a series of revelations that help all the ghosts rediscover the joy of Christmas.

The other ghosts mostly take a supporting role, with The Captain (Ben Willbond) taking offence to the Queen’s speech being televised “an officer and a gentleman should not be privy to the colour and thickness of the Queen’s curtain’s”. Robin (Laurence Rickard) believes Christmas is “just a fad”.

The special is full of everything you’d expect from this show. As always, the cast is uniformly great, Charlotte Ritchie and Kiell Smith-Bynoe feel like an authentic couple. Mike’s family feel like a real family, his sisters irritate him in the way only siblings can. The jokes vary from clever to crude, with strong performances all round.

The Ghosts Christmas special is the perfect way to tide us over until series 3.

The Ghost of Christmas airs on BBC One, at 20:30 on December 23rd.

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Review: Ghosts series 2-The Grey Lady

In the first episode of the highly anticipated second series of Ghosts. Alison and Mike try to find new money-making ventures to fund the restoration of Button House.


When a photographer takes a photo of the property, for a potential wedding venue. He spots a blurry Lady Button (Martha Howe-Douglas) in the upstairs window. The photo of the house goes viral, with social media users dubbing her “the grey lady”. When paranormal fans from far and wide show up at the house, Mike spots a lucrative opportunity. He convinces Alison they should give people an authentic haunted house experience. Unfortunately, Julian (Simon Farnaby) has convinced the rest of the ghosts to go on strike.

Made by most of the creative minds behind Horrible History, Ghosts was a personal highlight of 2019. With so many comedies nowadays having a bleak edge, It’s refreshing to see a family-friendly comedy, that reminded me of the type of shows I watched with my parents as a kid.


An unspecified amount of time has passed since we were last with the residents of Button House. As soon as she wakes up in the morning, Alison checks the bathroom is clear of specters, so Mike can use it. She then attends to the Ghosts needs. She starts records, helps with crosswords, turns pages in books, opens laptops, and, times the Captain (Ben Willbond) running a lap, he feels he isn’t achieving his best. This was a great way to show the passage of time and just how comfortable the residents have gotten with each other. Mike even has a board, with photos and sketches of the ghosts. So he can picture who Alison is talking to.



Charlotte Ritchie and Kiell Smith-Bynoe have such great natural chemistry and remain totally believable as a kind-hearted couple, who are completely out of their depth. They also deal with the disbelief young home-owners experience, when they tell visitors they own the house.
The rest of the cast are all equally outstanding, everyone involved with this is at the very top of their game. There’s even a great guest turn from Colin Hoult, who never disappoints. My personal highlight was Pat (Jim Howick) and Thomas (Mathew Baynton) pretending to be 80s disc jockeys.

2020 has been a dark year for us all, it’s great to finally see some light.

Ghosts returns tonight at 8:30 pm on BBC One. With all episodes on iPlayer after that.

Stars Charlotte Ritchie, Kiell Smith-Bynoe, Mathew Baynton, Simon Farnaby, and others.


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