That Gaby Roslin Podcast: Reasons To Be Joyful - Rachel Parris & Marcus Brigstocke

Episode Date: January 25, 2021

In this episode Gaby chats, laughs and sings with comedians Rachel Parris and Marcus Brigstocke. They chat about their lip-syncing on social media which took the world by storm, even the American chat shows were talking about it! Plus the sweetest story of how they got engaged on Christmas day. Marcus tells of when he worked on an oil rig during the day and as a podium dancer at night! Rachel chats about ‘Austentatious’, an entirely improvised comedy play in the style of Jane Austen and Marcus joins in for an on-the-spot performance. Stay tuned for the finale - a hilarious rendition of Les Misérables. Produced by Cameo Productions, music by Beth Macari.  Join the conversation on Instagram and Twitter @gabyroslin #thatgabyroslinpodcast Hosted on Acast. See acast.com/privacy for more information.

Hello. On this episode, I chat to the comedians Rachel Paris and Marcus Brickstock. While these two have the best time together, we chat about their wonderful lip-sinking on social media, which took the world by storm. Even the American chat shows were all talking about it. Plus, the sweetest story of how they got engaged on Christmas Day. Marcus talks about when he worked on an oil rig during the day and as a podium dancer at night. Yes, that's true. about Rachel's ostentatious. It's a fantastic, improvised comedy group, and they do it in the style of Jane Austen. And they have me crying, literally crying with laughter when they perform an

exclusive ostentatious performance just for this podcast. And we end this episode, singing, well, I don't know if you can call it singing, but we try and sing a hilarious rendition of Les Miserables. I hope you laugh as much as I did, and I hope you enjoy it. How are you both? You lovely. people, thank you for your lip sync battles. Thank you. We miss the lip sync battles, actually. It was one of those things that all my friends who thought that they were in the secret club would say, oh, you know, Rachel and Marcus, don't you? And I say, yeah, have you seen, yes, I have. As you, I was really indignant. Of course I have. I predicted their marriage. Yes, exactly.

You called it straight away. I wasn't even there. No, you weren't there. So Rachel and I, Rachel came on Gabby's talking pictures and did she have this smile on her face and she said I'm going out with Marcus Brickstock I mean I think it was as simple as that and I said oh you're going to marry him I think it was as part of a conversation to be fair I didn't just come out with just walk in the room and announce it everyone listen ding ding ding ding ding very Jane Austen I have found a match and I I haven't met you before no we've never we've never met and okay we were talking and then you said you're going out with him and I just looked to you said, oh, you're going to get married.

And you blushed Scarlett and said, what are you talking about? I said, no, no, you're going to get married. I know you're going to get married. And then Marcus came on to Gabby's talking pictures. And I think I'd probably only meet you once or twice. And I said, oh, hello, you're going to marry Rachel. And you just, you looked so mortified. And they went, yes, she told me that you might say that.

And Rita, I married her. Yeah, we did. We did do that in case of people. Yeah, yeah, yeah, in case people are like, wow, this is ramping up the pressure. I have to still say, though, and I know it sounds ridiculous, because I did cry, when Rachel secretly sent me a message saying he's asked me and we're getting married, I'm engaged or something, I can't remember the exact words, and I cried. Oh, bless your heart.

There was such a brilliant moment. So I proposed on Christmas Day, not last Christmas, but the one before. and in late December, I had the collection receipt for the ring in my pocket while they were making the ring and stuff. And it was like really one of a very few rows we've had, but it was a proper one with Rachel saying as delicately as possible, look, I just need to know where this is going, okay, because I love you and I know that you love me. I'm 35 years old.

But I'm 35 and I love you and I hope you know that. And I just, I don't know how long, I don't know what's happening with us. For me, it's very serious and the rest of me. And I had the collection receipt in my pocket and I literally wanted to get it out of my pocket and go, look woman, it's here. If you'll just wait, just four more days.

That's all I'm up. Just four days and then I can do this romantically. it was awful because I couldn't say anything. I was just going, well, you know, I love you. And please don't worry about where this is going. He kept saying, if you can just trust me. And I was like, I do trust you, but what does that mean? Like, I trust you, but that's not, I trust you generally,

but that's not enough that what I'm asking for. I nearly tied the receipt round of finger. Okay, so you waited four days from that. Until Christmas morning. Maybe it was longer than that. We had that conversation like two weeks or three weeks before. No, I can't have been three weeks. But it was ongoing.

Because I had the ring receipt and I only did that about 10 days before. Maybe two weeks. No, you did it before. Anyway, now we're just talking about. You can tell you a marriage. Yeah, exactly. Yeah, yeah. So tell me about the actual proposal then.

If you can. I just want to make it. I think it's obvious from that conversation how absolutely certain I was the markers wasn't going to propose. It wasn't like people are. said to me like, didn't you think it was quite likely that he wouldn't? I was like, no, I was absolutely certain that he wouldn't. And gently furious about that. But that's what you'd, but you'd, it'd done such a good thing of covering his tracks in terms of keeping it a surprise that he'd

convinced me that it was impossible that he would. So we were in, it was just Christmas morning and by this point, we'd actually reached a nice place with it. Well, I, yeah, I should say at this stage, I'm a big fan of Father Christmas, like really big fan. I love the whole, the love, I love, the whole setup. Rachel, you know, doesn't dislike Father Christmas, but it's been less of a thing in your life. I was brought up with a certain level of reality. And that has jarred a little bit with Marcus's very, very strict and strong belief in keeping Santa alive.

Father Christmas. Now, not for kids, but for us. Yeah. So anyway, Father Christmas had been. My favourite thing, I think, is get leaping out of bed Christmas morning and shouting, he's been, he's been for ages. Anyways, so Father Christmas had been and then I said, actually, there is one more thing. And I got you to shut your eyes.

Yeah, we were in our pajamas. I said, this isn't from Father Christmas. And to be fair, it's not strictly speaking a Christmas present. But anyway, I have got you something. And I thought that it was going to be sexy underwear because he's sort of got me to close my eyes and he sort of made it clear it's something that he you know we'd open just the two of us yeah to be fair getting you to shut your eyes like that you must have at some stage thought that maybe I'd bought myself some sexy underwear and that you you were about

to see me in it but when you opened your eyes no such thing I was on one knee he was down on one knee and he said you assumed at my age I'd had a fall and I think you said racial Paris will you be my wife. Yeah, I think so. I was quite formal. I thought you'd like that. Yeah, I liked it. It was very J. Nice and old-fashioned. And I said yes. Oh, yes. Just straight away. Rachel, you really did look like a princess. Oh, thank you. Yeah, it was a beautiful dress, which I'm now, which I'm now trying to sell. Listen, anyone listening who's still going ahead with your wedding in lockdown. If you want a Philippe-Leple, beautiful princess wedding dress, then please get in touch with me. Are you really going to sell it? It's so lovely and I'd love to see it be worn by

someone else. It seems such a waste for it to just, it can't be anything other than a wedding dress. It's not one you can convert into another kind of dress. When you say see it worn by someone else, I don't think it's part of the deal that you then get invited to their wedding. Oh no. And sit there as she comes down the aisle and go, I wore that. I wore that. Do you know what? That's a great TV show. Yes. Yeah, yeah, it is. It's really good. Say yes to the dress and this is the next step. Instead of like that old-fashioned joke, take my wife. It's like, take my dress.

Take my dress. That's the title of the show. You get to go to the wedding and help her. We can all present it. Yes. Oh, my, actually, I'm not joking. That is such a good idea. And the groom can wear the sexy underwear I bought myself.

I don't know if I want to ask any more about that. I'm still slightly scared when you talk about yourself in sexy underwear. We all are, Gabby. Yeah, but you know more than we do. and it's probably best that it's kept that way. But you did bring, and I'm going back to the lip-sync battle, but both of you are comedians, you write stuff, I mean, you're ostentatious.

As you know, Rachel, I love Mash Report. Marcus, I've seen you on stage doing your stage stuff. Spam a lot, I saw you, I remember, but also doing all the different things you do on television. Suddenly, you don't have that audience. Do you think that that's what, fire do you want to do your Tuesday night comedy club to do the lip sync that you sort of you crave an audience and I mean that as a I don't mean that as an insult I mean actually is how

important it is no you're bang on yeah that that's that's exactly what it is it was it was for for us lots of people have obviously been like that brought us so much joy and thank you for doing them and we're like well they're very much for us to be clear it really the lip sinks really gave us a sense of purpose, which is such a serious thing to say about something that is so silly. But it did. It meant that you had a little job to do. We were doing them every day for a while, for a few weeks with them every day. And it gave you, you know, to think up which song to do and think of what you're going to

wear, how you're going to film it and learn the words. That was the impressive part. Well, we only stopped doing them when they stopped being fun because, you know, they should never be like that. But really the breaking point was I tried to do a lip sync to intergalactic by the Beastie Boys and I'd painted my face silver and put my head in a cardboard box to try and look like a robot. But what he hadn't done was learn the words. We spent four hours with me dressed like that and Rachel very patiently, you know, with the lights and camera, I say camera, a phone, you know, trying to help me with it and all the rest of it.

And eventually we went, we can't, this is nonsense. So we stopped. But it was, because we both had COVID in March. And really the lip sync thing was on our way out, you know, when we started to feel better. I didn't realize you'd had it. Yeah, yeah, yeah. We both had it quite early on and felt, you know, awful. And yeah, the lip sync thing was definitely part of sort of feeling better and starting to work out like, well, what can we do?

And it was mad. And we ended up on... Good Morning America. Yeah, good morning. But you know you said TV was interested in them. It was weirdly only American TV. So we were having interviews on Good Morning America, MSNBC. We had Fox News chasing us. Like we didn't really want to talk to Fox News. Really angrily. Yeah.

Really angrily. Like... We ignored her, this woman, because we don't want to talk to Fox News. But she and she tweeted and tweeted private message Facebook. booked, went to both of our agents. Full caps lock every time. Yeah. This is Fox News. You have to get in touch with us.

I have been contacting you yesterday and the day before I get in touch. No. No, not going to happen. But good morning America as well. I mean, bless them. Who was it that we spoke to? It was called something like Chip Bradley or... Chad Tard or something like incredibly American name.

But we had, I don't know, maybe six lengthy... conference zooms and rehearsals and all the rest of it. For a three minute segment. You're kidding me. No, no, just classic American TV, you know. And he got us to, he asked us like, you know, four or five very simple questions. And he got us to prep every answer in advance. Yeah.

There's a lot of workshopping, which for two people that mostly just enjoy improvising and being silly, you know. But no, it was really, it was really good fun. And then several months later. Well, we were on Lorraine. Oh, you were? Yeah, but they featured us too in Lipson. Oh, did they?

Yeah, yeah, yeah. The BBC commissioned a thing, comedians in lockdown or something. We did a few for that. They were good fun. And you did the driving, didn't you, as well, Rachel? Well, no, that never, it never came to be in the end. Like a lot of the driving gigs,

for some economic reasons I don't understand, they ended up canceling the whole thing. Yeah, it was awful, really. You know, the people who'd tried to make that happen, who'd really taken a risk and gone out on a limb and, you know, yeah, I mean, one guy in particular, Brett Vincent, who set up the big driving gigs. He just, because there was no help,

and he was just trying to create work for himself and for others. And, yeah, it went horribly wrong. But he deserves a big remote round of applause for the effort that he's put in. And there have been a few gigs. You know, we've done one or two. We did some fun stuff down in Brighton on the beach and at the open air theatre there and stuff. And, you know, like the people who are managing to create gigs at the moment,

I'm just so full of appreciation for what they're doing because it's really difficult. What you guys all do for all of us as an audience is vitally important. It's really, it's so important for our mental health as well. Laughing, quite frankly, is the best medicine. Yeah, it is. It really is. And it, I mean, it helps that it is really codependent relationship.

Yes, absolutely. In that we need, comedians do comedy because they need to do comedy and be laughed at for their self-esteem. Yeah, that's true. And, you know, people need to laugh. Yeah. And actually, and laugh together. Yes. You know, I mean, there's lots of great stuff on the radio and on TV and, you know, you can laugh.

but being together outside gigs, inside gigs, whatever it may be, and laughing with other people, there's something very connecting about that. It's really important. Also, really important to feel that you're good at something. You know, I mean, is the ego that gets satisfied by hearing laughter and applause and all that is very nice. But for everybody, regardless of what you do, I think people really need to feel that they're good at something. And, you know, comedy's the thing that we're good at. Well, it turns out that and lip-syncing me.

Yeah, no, you are really good. You're very good. Very, very good at it. What makes you laugh, though? So, Rachel, what makes, because I ask everybody in this podcast, what makes you gophear, belly love? I mean, lots of things. I think just real extreme silliness.

And, like, I think I laugh the most just with Marcus at home at running jokes that we've had since we first got together. Like the older and more worn, the joke for me. Is she talking about you? Yes. Yeah, I think she is. Yes. With regret.

But I remember that at school that, like, I'd have, like, private running jokes with friends that had gone on for, like, six years and no one else understood. And they did annoy other people. Yeah, because sometimes people will say, that thing that you say, that thing that you do, What is that? And you're like, I can't explain it.

I can't explain it to you. But it would make me absolutely lose it with laughter. But I like really, I do like just really sort of silly comedy. Oh, that's so. So is that what makes you laugh? The same sort of humour then, Marcus. Yeah, I'd say so. I mean, I have to say, like we do, this is very sickening having given all the

lovey-dovey details of proposals and marriages and stuff. But the truth is, well, no, the truth is we make each other laugh so much. Yeah, we do. Like we're often helpless with laughter just wandering around the house being silly, like appearing around a door wearing a stupid hat and not saying anything about it. Outsized glasses you find very funny. Like you're ridiculously big glasses. You know those stupid comedy glasses.

We've got lots of pairs of those. I think they showed up in the Elton John Lipson actually. Yeah. I find them very funny. Putting them on and just treating. everything else very seriously. We actually took a pair of them on honeymoon with us. You did not. I'll send you the pictures. We were on the top of a beautiful hill in an ancient town in Santorini in Greece, in this beautiful, at sunset, sipping a drink over the view of all of

Santorini, with beautiful panorama. And we asked a lady to take our picture. And just before she took the picture, we put on these oversized comedy sunglasses sunglasses. and she was like, are you, is that? And we would like, take the picture. Yes, please. I'll send you them. We've got them on Instagram. Yeah, they're glorious.

Oh, see, I love that. I really do think that that's the way to cope. And I love the fact, I mean, can I move in with you two? Because you sound like the perfect couple. It is pretty fun. I tell you what really made us laugh recently was we went on one of our really, really long walks. Walking in lockdown has been one of the best things ever, especially walking through the streets

because there's much less traffic around and all the rest of it. It's been great. But we had a day out when all the conkers had started to fall, and we were both doing an impression of early Neil Young singing a song called Autumn Bulls about conkers on the ground. And that made us helpless with laughter for about an hour. Falling down from the trees, conkers all around. Lying there in the leaves, they can be found.

Autumn balls, autumn. We went on for ages. And anyone who'd seen us or been within earshot would have just been like, that's very weird. Those two people, they seem to be singing a ballad to some concours. I love that. Oh, you see, you should have filmed that as well. In fact, I think you should just film your lives for 24 hours a day. We're getting there, to be fair, Gabby.

Yeah, yeah, it would make me very, very happy. Marcus, so I've interviewed you before and I met you, obviously. Otherwise, I wouldn't know that you two were going to get married. But I didn't know that you lived on an oil rig. Yeah, yeah, yeah, I did. I worked on an oil rig for about seven months. At a strangely young age as well. It was a really weird time in my life because at the same time as working on the oil rig, in my weeks off back in London, I was also working as a podium dancer.

And this is the point at which people are like, okay, so clearly this whole thing's made up, but I swear it was true. It's okay, take me through your week then. So the week was, well, over a transition. So I do two or three week shift on the oil rig. So doing what? Well, initially, I was there as a deck hand, you know, just helping move stuff around, you know, bringing stuff on and off the rig from the crane and all of that kind of business. And this rig was being fixed up.

So they tow them into the Cromerty Firth in the northeast of Scotland. And when they're done, you're supposed to go back out to sea so that there's space for the other rigs. But no one wants to go out to see when you can be near the shore. and be able to like get a boat and go in and stuff. So one of my jobs, I kid you not, was to go outside and do some clanging. You're kidding. And they gave me a metal pipe and I'd just have to clang things

so that if the port authority said, are you still, are you guys, do you still need to be in the Firth? We'd go, oh yes, yes, yes, yes, yes, yes. You can hear it was still working. No, I did some clanging. You're a clangor. I was a clangor for a while. Yeah, yeah.

And then they sort of, Then they worked out that I was better at running the domestic arrangements for the rig because they said, I went ashore to get all of the, all the food for the rig. And I said, right, so what's the arrangement here? Because they just give you like a card that you charge everything to. And they said, well, you just get what you get what you need. And I was like, what? There's no limit. So instead of the usual fare, I came back with like, you know, whole Scottish cheeses and really excellent salmon.

and beef and stuff. So they sort of put me in charge of the domestic arrangements on the rig. And then I'd come back, I'd get the coach back from north of Inverness, which takes about 14 hours to save money.

And then I worked in clubs like Ministry of Sound, Equinox, Lime Light, the Hammersmith Pallet as a dancer. What? And like, you know, you'd go on and do short spots late at night

just to sort of get the crowd going. So were you wearing your manly attire from the oil rig and came dressed as an oil rig worker with your pipe? Yeah, I should have. That would have been quite village people, wouldn't it? I think that's quite a strong look in a nightclub, to be honest. Absolutely. People could go for that.

I thought that's what, I really, that's how I picture you. With my clangor in my hand. Gabby, it's now how I'll picture him. Sure. I don't hate it. There's a comedy in this. Why haven't you written it? I was given a set of oil skins, like proper North Sea rig workers oil skins.

And I didn't know that, you know, when they get messy, they just get messy. And you don't do anything about it. So I washed mine. And they shrunk. So I had, I genuinely ended up with very tight-fitting, tight-fitting rubber outfit on a rig where the men are at sea for quite a while. Yeah, I concealed the fact that I was a dancer. So, yeah. No, I sort of wore what I'd call club attire, you know.

But how did you end up doing these two things? Well, it was odd. How did those things come about in life? So the dancing, the shortest version of the story about the dancing is when I was 17. When I was 17. It was a very good year. I've got to put that on the list. I need to live with you too, because literally this is how.

I live my every day. I've seen every part of my day. It's perfect, perfect. So when I was 17, I went from 24 stone to 11 stone in seven months. I went into rehab to get help with some serious problems with addiction and like more than half my body weight in just over half a year. So when I came out, I felt amazing. I was sober, no drugs, clean living and just felt really good.

So dancing felt incredible. So I just did it a lot. I wanted to and I enjoyed it. And every time I went in a nightclub, I just loved being in there and felt very high on life and full of exuberance. And I got talent spotted one night and they said, do you want to come and be a professional dancer in the club? And I went, yeah, sure, that'd be great.

Okay, yeah, that's that bit. But it's the oil rig. The oil rig. So, well, the oil rig is that the nightclub dancing, you know, with drama school and stuff, I didn't have any money. And my dad found someone who was employing, you know, students and stuff like that to work cheap. Because when a rig is not drilling or extracting oil, then it's losing money really, really fast. So they stripped the crews down to nothing.

And we were just there as like very, very cheap student labor. So the two things just overlapped. It was a brilliant experience. Brilliant. But you have to write this. You have to write this as a comedy drama. I think it's too unbelievable, Gabby. I was basically living the life of...

I don't think people would buy it. Alex, the welder from Flash Dance. Oh, my worst. It's welded by day and dancer by night. In your skin tight oil rig outfit, rubber outfit. Yeah, in my tight fitting oil skins. It's got to happen with songs all the way through. Rachel, in this time, because we were, as you know,

I'm a massive fan of your ostentatious. Oh, thank you. I miss ostentatious so much. It's just so clever. It's so clever and it's so, it's wonderfully simple and I mean that as a huge compliment and I think the best ideas are the simple ideas. Thank you.

But you're just so clever at ad-libbing and just you can go with, you can make anything into Austin. It's just, I'm going to give you a scenario and you two have got to do it. This wasn't planning. Oh, wait, wait, wait. I am not qualified. You could be the chap, so you don't have to say a lot in Jane Austen. Okay, the scenario is that a rubbish truck, which has just happened,

is going backwards up the street and knocks over an old rocking horse that the 98-year-old woman used to sit on and she watched it get crushed. But then the rubbish collector man came around and danced with her. There we are. Mr. Farnaby. Mr. Farnaby, stop the carriage. I have stopped the carriage already. I have had to.

Mr. Farnaby, you know not what havoc you wreak. Who leaves a rocking horse in the middle of Chancery Lane? How could you leave the blame at my door, Mr. Farnaby? A woman has every right, a lady no less. A lady has every right to leave her horse on the street. Of course a lady has every right to leave her horse wherever she wissed. But as you know perfectly well, this is the seventh rocking horse that I have encountered on Chancery Lane in the last fortnight. Oh, you are cruel to say so, Mr. Farnaby.

Everyone in the village knows that I leave my rocking horses out to honour my old horse denim. Your old horse denim. Yes, who died and I leave a weekly horse out to honour him. Yes, but you have to accept. surely, do you not, that a perfectly innocent passerby, like myself, is as likely as not to either collide with one of your rocking horses or, worse still, as I did last week, shackle four of them together and try to ride off with them. Mr. Farnaby, that was a sight to behold indeed. I am as sorry as you are for the passing of denim. Are you aware of Farnaby Towers? It's vast. Yes, I have seen your abode. It is indeed extremely vast.

I just thought I'd mention, as well as having crushed yet another of your rocking horses, I am not yet married. Oh, I had heard such. Indeed, it is the gossip of the town that why you have been single now for coming up a month. And everyone thinks it is very long indeed. Very long indeed. Not as long as I think it is. A month is a very long time, if all you've got to show for it are some broken shards of rocking horse. Well, you are welcome to them, Mr. Farnaby. And you are welcome to graze your rocking horses on Farnaby Estate whenever you wish.

What do they eat? That was my audition. Now I can be in ostentatious. That is so good. Have you ever done that before? No, never. You were good at it. Thanks very much.

Thanks very much. That's the next thing that you've got to do. I've properly, I've got my glasses on and they've come and I was crying. I tell you what, I am such a fan boy for ostentatious. Like I go and see it, you know, because Rachel's in it. But before we were together, you know, I'd seen ostentatious several times. And I am blown away. So they, for people listening who've not seen it, they do that for a full length show for an hour and a half.

And the thing that blows my mind is firstly, it's very funny. Secondly, the characters are brilliant and really interesting and all the rest of it. But also, it ties up. it reaches this, Rachel's blushing sitting next to me, but when it reaches the conclusion and someone who you're rooting for does get engaged or get married or find happiness in whatever form it is,

I've seen people cry and, oh, it's brilliant. So brilliant. We sort of, we know we're doing, we've been doing it for about 10 years now and trying to really learn and we do workshops and rehearsals and try to get better or at least keep a certain level of improv standard because it's easy to forget how to do it.

But what we have to do, what we aim to do is to have both this absolute silliness and absurdity and fun of the show combined with the emotional element as well. And we can always tell when we're getting it right and when we're getting it wrong, because when we're getting it right, the audience is very audible. So when the kiss happens between whoever the two lovers are, the audience are like, oh! When the villain, you know, the sinister Lady Appleby appears in the scene and reveals what was in the will, then the audience is like, oh, spoo.

It is, yeah, you can tell when you're doing it right. And then when we're having a show where we're slightly off, there's just silence. Oh, well, you heard, I completely lost it. I mean, I've that, oh, I love it. I absolutely love it. You know what you two should bring back? Whose line is it anyway? Oh, yeah.

So, well, we did do some in Edinburgh last year. On telly, back on TV. Oh, it would be amazing. It would be amazing to do that. I think they've been trying to for years, haven't they? They have. It's such a complicated thing. Why?

You know, it's one of those. Well, because the idea belongs to one person and the cast and it's always complicated but we did do some on stage uh in edinburgh with clive anderson hosting and greg proops came over and mike mcshane and stuff and we do you know with the comedy store players who are you know a lot of those guys uh who was on um who's like um yeah we play with them very often on wednesdays and sunday nights at the comedy store and stuff so i miss that stuff so much because obviously There have been a few stand-up shows because stand-up actually is pretty safe, you know,

as long as everyone has their own microphone. But working together like that, doing ostentatious or nights with the players or whatever is more difficult to manage. Get in touch with Dave and tell – it's not actually Dave the man, but Dave the channel and say – Basically, if they gave us a day a week on telly, just to fill it, that would be ideal. A gamut, you could do a little fashion slot on it where you pose in front of your white wardrobe. Yes, because that wouldn't be weird at all. And do your shopping in your wardrobe.

That wouldn't be weird at all in the middle of an ad lib show. We can throw to other items. We'll throw to one of our correspondents. So long as I can sing musical theatre, because I'm mad about musical theatre too. Well, likewise. Likewise. Do you listen to Elaine Page on Sunday, ever? Well, that's when I'm on the radio.

Thanks for listening to my show, but that's fine. Sure, sure, sure. So no. Actually, I used to when my show was later on, but now I'm on at midday. But I love anything musical theatre. Oh. I just love it. Yeah, we're huge fans.

So which show? I can't wait for those to reopen. What show can we all be in right now? Well, let's start with Les Mise because we all know it. Let's assume everybody knows all of Le Mise. No, the problem with Les Mises is that I want to be, I want to sing stars, and that's a man's song. I feel the same. When I was growing up, I always wanted to be the character, I don't know how you pronounce it,

Enjolras, the one who sings the red and black song and who gets to stand on the barricade and wave a flag. The one who sends all the children to their death. The one who sends all the children to their death. Yeah, but, you know, they're up for it, actually. Yeah, they're totally up for it. Because he's really good at talking them into it. Yeah, exactly. All the male parts are always the best part.

Yes, especially in that. I don't see any reason at all why we need stick to conventional gender casting for Les Mis. Because I, conversely, have always wanted to give my castle on a cloud. Right, there we go. Here we go, right. If we'd like a little bit of your castle on a cloud, I'll do about two seconds of stars, and then we end on Rachel at the top of the barricades. Okay, this is how we're going to end this. Never done this before on the podcast, but let's go.

Okay, over to you. And you've got to do the commentary of the story. This is the one-minute version of Le Mise. Okay. A little girl is seen sweeping the dirty ground outside an old inn. There is a castle on a cloud. I like to go there in my sleep. Next, we see Inspector Javert contemplating his fate on the edge of the River Sen. Stars in their multitude, scarce to be counted. And in opposition to the scheming Javert, a revolution is arising. A charismatic young man leads the charge, stands atop a freshly made barricade, flag in hand and inspires his troops behind him.

Do you hear the people sing, singing the song of angry men? It is the music of the people who will not be slaves again. Oh, yes. Oh, yes. Gabby, Rachel and Marcus, perform highlights from your favourite musicals here every Sunday. On BBC 4. Oh, don't because I would love to do that. You two are a joy.

Thank you. Oh, thanks for having us. So lovely to hear you. Bless you. Thanks, Gabby. Lots of love. Bye. Thank you so much for listening.

Coming up next week on that Gabby Roslyn podcast, the iconic Michelle Vizage. That Gabby Roslin podcast is proudly produced by Cameo Productions. Music by Beth McCari. Please press the subscribe button and it will come straight to your phone on Apple Podcast, Spotify or wherever you choose to listen. Also, please rate and review us. on Apple Podcasts.