That Gaby Roslin Podcast: Reasons To Be Joyful - Sophie Willan

Episode Date: March 17, 2026

Comedian, Actor, Writer and all-round joy spreader Sophie Willan joins Gaby for a natter about 'Small Prophets', 'Alma', the brilliance of dogs, her new baby and how putting some of her own life into her work has helped her through some tough times. Will Small Prophets return for another series? Will there be an Alma Christmas special? Could Sophie be on the next series of Strictly? All these questions and more are answered...

Sophie Willen, it has taken me a whole year to this month to get you on reasons to be joyful because you are quite simply a reason to be joyful. Oh, thank you. You're joy personified. Am I? Yes. That's fabulous. Lovely. Thank you.

No, you are. Because of so many things. So many things. Can we start now and work backwards? Yeah. Oh, well, you can choose or should we start at the beginning. Do what you want to do. I'm happy.

Let's start with small profits. Yeah. It's great. isn't it? It's really brilliant. We've now watched it twice all the way to it. Oh, I'll tell McKenzie, that's fab. Yeah, I mean it's brilliant. McKenzie's written something

beautiful and it's really fun and playful and Pierce and Lauren are amazing. Oh, they're just, the whole cast. There's nothing that it. Actually, I'm going to use a word and I know people, I'm going to use it a few times with you. I'm going to get really bored of the word, but it's perfect. I think Small Profits is absolutely perfect. Yeah, it was really well cast.

Emma Garrett, casting, she casted it. And yeah, she's did a brilliant job out, Shelly. Pierce is fabulous. My partner was John Pointing. He was in big boys. He's fantastic. He's not from Bolton.

He's a London boy. But that accent is so Lancashire. He's nailed there. It was brilliant, but Pierce. Wow. Yeah, he's fantastic. Yeah, they're really nice together, Lauren and Pierce. It's a really fun dynamic.

It was one of those posts that I put out, just saying everybody much, and when you read whatever, everybody said underneath, it's so universally loved. It's been really well received, yeah. Can I ask, or do you know, please can we have more? Because it did say to be continued. I don't know what's happening.

I mean, you'd hope so. Can you just call him and say, McKenzie, write it? Yeah, come on, get on with it. Could you? So thank you for that. But obviously we have to talk about... We will talk about sewing B as well, because I think that's perfect casting. But Alma's not normal.

Congratulations on the 2,587 awards and more coming. But it's your life, isn't it? There for all of us to enjoy. It's very moving. I find it really moving. It's so funny. It's really beautiful. It's really poignant.

But that's your life. Yeah, yeah. It's drawn from my experiences, yeah. And I suppose a lot of care experienced people would relate to it, I think. Yeah. So how did you feel about the reaction that it got? I know that's a strange thing to ask, but it's been so enormous and so loved.

Yeah, it was amazing. Well, the pilot came out in lockdown at the beginning of lockdown. So that was great because people were at home and they were watching tellers. So I wonder if it hadn't have come out in lockdown if it had been, if we'd have got the attention, but actually it was seen at the right time. No, but it would have got, no, because it's so brilliantly written.

And it's so, thank you. It's so, it's very clever as well. So for people who don't know about Alma's not normal, as you said, it's based on parts of your life. Yeah, it's drawn from my experiences, yeah. So how was it? Because you have done that with lots of your stand-up shows as well. You've put yourself out there.

Which is quite a thing to do. Yeah, stand-up shows you have to be, it's more direct because it's like literally you, isn't it? So I used some of my social service records and put them up on the screen and then did sort of, you know, humour around it. And, you know, so that's definitely... But the great thing about a fictionalised thing

is that you're not having to follow any strict thing and, you know, there's people that are inspired by people, but they're not them, you know. But how do you feel about... Because like I say, you're very open. You're very open. We're going to talk about Elijah in a minute. Oh, God, he's beautiful.

But you're very open about your life. And a lot of people, you know, keep their private life secret and wouldn't want people to know. But you would have helped so many people. But your actual real life has been extraordinary. Well, I suppose the co-experience is a lot of people are talking about it more now. And I think Lemb's a massive reason why he was an advocate and he stood out there. I know when I saw him when I was 21, I thought,

oh right, we can talk about our experiences and it'd not be something to be ashamed of or that we have to hide. And actually, I think that visibility is really important, isn't it? It really is. You know, so I think... How old were you when you were first taken into care? Well, I was about six or seven years old.

Right. Yeah. And you remember it all vividly. I do. I remember before that, to be honest, being with my mum and everything. And, yeah, so it's... Is it... Is it...

I'm fascinated by memories. Are our memories things that we, photographs that we see Or are they sounds we remember? Do you know what I mean? I mean, it must have been so... Visual. I think I've got quite a visual memory. So I remember every detail of my childhood.

Like really, even from the age of like really, really young, like a toddler, like two years old or something. What do you remember from two years old? I remember my flat with my mum, the layout of the stairs going up. The bedroom was that where the, you know, the lounge was there, the kitchen was at the back, I can literally picture it all, I remember it. Yeah, and what's weird when I went to my foster parents,

I went to visit them years after, and I thought, well, it'll be so different to what I remember, and it was exactly the same. I thought, this is great. Because you know, you're told that your memory plays trips on you, but I don't actually think it does. That's why it's so good at writing. Maybe it's the visual memory thing, yeah,

and getting a sense, all your senses are active. So, okay, so you weren't. went into care the first time and then were those, did you go into the same, to the same foster family each time? No, no, I had different foster parents. Yeah, I did go on a farm and I did have a one-legged chicken named Klaus. You really did. Yeah, yeah, with the foster parents called Auntie Dot and Uncle Harold.

He weren't actually foster parents, but they used to say aunt and uncle, you know, as if you weren't confused enough. I always found it quite funny really because, you know, yeah, it was a strange thing but they were lovely, they were fabulous and then with my grandma, then I went back in when I was a teenager and had different placements

and then on supported housing scheme. Can we just ask about the chicken? What happened to the chicken? I don't know what happened to Klaus, but, you know, he was a lovely chicken. I think he was being bullied by the other chickens, to be honest. Oh, no, I don't like that. You know, like a mob mentality thing

because he was a bit different. Did you name him, Klaus? Or did they name? I named him Klaus. Yeah, I don't know why. Oh, okay. I can't remember. No point asking him.

Yeah, I mean, I was young, wouldn't I? Clouse. Yeah, I just looked after him. And I had a little goat as well, a small goat that I looked after. You had a goat? Yeah, this farm was brilliant. Oh, yeah. Not inside.

Yeah, it was a great idea for a foster family to, you know, a farm to foster kids, because animals are very healing, aren't there? So it's really nice for kids that have been through things to go and, be around animals. Did they, so when you went into foster care each time, did they make you aware of what had happened or did you ever talk about what was happening at home for you? Or did you sort of just switch off from that bit and go into foster care? No, no, they do.

They talk through everything with you. So you know, and you have to kind of make decisions sometimes, but you're quite young. Even when you're very young? Yeah. Like where do you want to go? Who do you want to stay with permanently? They'll ask your questions. It can be quite overwhelming.

And looking back at that time, I'm. And like I said, you're very open about it and everything. And it's going to help so many people. But looking back at that time, is there anything that you'd advise somebody who's going through it now? You know, some of those questions, some of those things that you said, is there anything that you think, do you know what? No, because I was too young. I don't think you can, there's no right way to do that. But I suppose the only advice I ever give, and I don't like to give advice really.

But just when you, if you want to get your records back, make sure you do it. with a support system, don't do it on your own because that can be really challenging and it's a lot of information to take on your own and it depends on your age as well but I got mine back in my early 20s, my records and it can be quite a lot to deal with. There are a lot better now

because there's a bit more support I think but I read mine on my own in my flat and that was not wise but I didn't know what was letting myself in for like I said there's more awareness now about the Kerr experience as an identity you know, care experience, curleaver. They're kind of an identity, aren't they?

Because of people like you're talking about. I think so. I think Lenn and I think me and I think there's some real advocates for it. So it's become a bit of an identity. You'll see it on people's Instagram, hashtag curleaver, which was just never a thing before. But that's amazing because it creates a community and that's the biggest.

And that's what you need. Yeah, that's what you need. Definitely. Like Lleman's been an elder for me. You know, he won't like me saying that. But, you know, he has. And then I think, I've been able to do that for other people

and it's kind of a mentorship thing as well as a friendship. I think you need that. Yeah, you really do. You're passing things on and creating that, almost like a family set up. So when you were going through all of that, was there any point that you thought,

yeah, in the future I'm going to win lots of BAFTAs, I'm going to be a writer and a comedian. Well, I've been very lucky. I've always loved writing and I've always loved performing from a young age. I was about eight when I discovered that I loved that. So actually that gave me a real focus. And it's just, you know, it's a joyful way of expressing yourself, isn't it?

So you always knew then, really? Yeah, I was very lucky that I had that drive because that's, I probably has saved my life on a few occasions. I was like, this is what I want to do. And there was no kind of, and it just felt really natural for me to go that way. So when you, actually, when it first happened for you, I mean, you won awards instantly, which is great. And it's as it should be.

because you can tell I'm a super fan It's really embarrassing I'll calm down in a sleck But you know the minute you went out there And you did your stand-up And then you got backing And you won bursaries and awards Did you then think

This is where I'm supposed to be? I think so, yeah I mean what I'd done before Is I'd gone to contact theatre in Manchester I did the young people's course Set up my own theatre company But you were so young when you did this Yeah, about 19 probably

and set up the theatre company at 20-ish got arts council funding to learn how to produce you know and get arts council funding for things and became an arts council funded artist so I had loads of years of playing I did theatre plays and collectives and stuff like that so by the time I moved into stand-up

I was very ready you know that actually was a better fit for me in terms of how I speak but you're an act so what if you have to write what you do I'm always confused. I just put actors slash writer

slash comedian sometimes. I never know. That's all right. Yeah, that's fine. So I was going to say, because the acting side, you say the comedy side was a better fit?

Oh, well, no, I did. The stand-up was a better fit. The stand-up was a better fit. Because I used to write, I used to work in like live-arty theatre, but they don't really appreciate humour there. They see it as a, they're like, oh, another joke.

You know, it's like there's no joy with it. But we need that. I know and also there's something about theatre where they think humour is unintelligent. I don't know. It's really, there's a snobber. It's internal. Do you think so? Yeah, they kind of think, oh, you're selling out by doing a joke, you know, keep it, you know, to keep it painful, you know.

Oh, no. So it's all that nonsense. So as soon as I went into stand-up, I just felt immediately it was a better fit, yeah. You've got such a good memory. Your very first stand-up that you were there out on that stage, what was that like? Not very good. Yeah, I went to excesses. Malarke and I didn't quite understand the form of stand-up

you know because I used to do sort of storytelling on stage and you can be as waffly as you want especially in like live art theatre there's no rules on there's no discipline actually so it's really kind of interesting performatively but often the scripts are quite flabby people just kind of do what they want so I had gone on and I was just chatting I didn't understand that it needed to be kind of well-formed so that was a big yeah and what was the audience like? They were not very kind.

Oh no! Well, they're a funny crowd ex, but they love you when they love you but they're a loyal little bunch It's like a local like, you know, quite a cool indie Manchester comedy club

so if they know you or they think right, you're good but if they're not impressed they'll just sit there and not happy. Oh! But you need that but you do need those

to go alright, okay let's get going then because this is there's no winging it in comedy I don't think I know, but you've got that, and you've got people with their arms crossed sitting there, their hunched shoulders. Then to go out there the next time, I know it's sort of lessons, and I wish I'm, I totally believe in, and I don't believe in failures. I think they're all lessons.

Yeah, yeah. But what got you to the next one? Well, I enjoyed that period, because I was just constantly trying to get better at the craft of it, and I really enjoyed that challenge, actually. You know, it felt like a puzzle to figure out. And then, and then it happened. I'm so sorry, my phone's ringing. That's all right. No, don't worry.

Is it McKenzie saying that small profits is coming back? But yeah, I enjoyed the challenge of it. It was a completely different way of writing and thinking. So then when it happened, and you suddenly, you broke forth and you won... Well, I did, like, Laughing Cows, which was a Manchester, like, female comedy nights and women in comedy, which was great. Because it was mainly lesbians, and they're just dead supportive. You know, they were just really, like, want you.

to do well. So that was a great environment because it means at least you can have fun even if you go, oh, that joke's not great, but you're having a real life. Oh, how lovely. Yeah, and just a very supportive crowd out. Support is important though, isn't it?

Yeah, and to be with other women. So that was brilliant. So then by the time I'd kind of kind of think, then I was able to enter the competitions then, you see. And then, but then it just, I mean, you know, reading all of your stuff, but also following your career, it just seemed to roll and get,

bigger and bigger and bigger and bigger. And then cut to all the TV shows and everything that you've done, were there moments that you just thought, ha! But please. I know, not really. It's funny life, isn't it? You get so easily kind of like used to what's happening now, don't you?

So I think the thing for me was, if I'm honest, the disillusionment of realizing that these moments that you think are amazing is the other things that matter. Like actually working on the show with, Lorraine and Shiv having a laugh. You know, those are the moments that are amazing. Things like the BAFTAs, for example, or the award. You know, actually, RTS was fun, wasn't it?

But they're often not that fun, are they? Your dance, though, was the best. We did have fun doing that. That was the best. And Lorraine, who I love, love Lorraine. Oh, she's fabulous, yeah. Shevour and I used to work with. Did you?

Years ago when she did Kids Telly. Oh, wow. It's not something she has on her CV. No, she's not mentioned that to me. I'll be bringing that up. Yes, we will remind her of that. Yeah, yeah. But that, you're getting up on stage and dancing because you'd won an award and just go for it.

Yeah, we do have fun in that moment. I just mean that whole, you know, the red carpets and all this stuff. And you think it's all going to be fab. It's weird. It's weird. It's weird. It's weird. When you get in it and you realize, oh, this isn't actually that fun.

Then I went to a bit of feeling guilty about that thinking, you know, I should be enjoying every moment. And then there was the acceptance of good, you know what, this is a great career and it's different. and we get to do all these brilliant things, but we don't have to love all these things in those moments like that. But also throw away that guilt because guilt is completely wasted. But it was just basically, when something becomes a reality when it's been a dream, isn't it? Yes. There's a whole reshift.

And then you get to accept it as a reality and go, as a reality, this is brilliant. As a dream, obviously it's not the same. It's not the same. So there's that whole coming to. Well, let's reenact the red carpet then. It's always, you know, so this is used that. I'm the, I'm somebody, oh, Sophie, who are you wearing? Yeah, I know.

What? The questions are just too much. I'm not wearing anybody. I've got my clothes on. Yeah. Thanks very much, yeah. I know. Oh, Sophie, this way, please.

Sophie, Sophie. It's all the shouting, isn't it? I never know where to look. I'm always going the wrong direction to everyone else in the shot. You know, we do, I'll be over here. But also because you're funny, that everyone's going to be like, go and then do something funny. It's just so much, it's it?

I just can't cope. You don't quite know where you're being pulled. This last one, we didn't do as many press bits. We just did a few. And I was happy with that. Didn't you take Elijah with you? Oh, no. This was, oh, I meant BAFTA, but Broadcast Award.

My baby came. He was with me, and then the babysitter took him off. But I thought, get some pictures first. But that was just on my friend's phone. Oh, I see. He took it, yeah. They didn't. So the three of you didn't do.

the red carpet. No, we didn't do the red carpet. We were just in the hotel where it was because I had a room there as well. You see. So, and the baby was there. So it was quite good that because I thought we're dressed up. It was nice. Nice.

I see you got the best. Add it printed. Lovely Rachel who dresses you. Oh, she's good in Cher. She's lovely. She's lovely. She's very good. She helps me out as well.

Yeah, she's good. We all need a Rachel in her life. But that, all of that, cut to you being on set with Lorraine and Chavrene and doing our That's the joy. That's what the fun is. That's all of it, yeah. You know, just there was a day when Lorraine kept forgetting her lines. She just, no, it was this funny sentence. She just couldn't get it.

It was about her daughter, her sister. She's had that many threadless. She's got the face of a drawstring purse. It's quite, you know, she couldn't get it. She was having one of their menopausal days, she said, I'm having a menopausal day. She was like that. And we all got deliries because it went on for about 45 minutes.

Perfect. Those are the moments that we need. And she had a weird bright pink wig on. And then she tried to sit on a poof and fell through the poof and her legs were in the air. We all just went out. Have you got this on tape? Because we all need to see the... No, no.

I should do. People love a blooper. I've got some funny bits of Lorraine dancing on bloopers. Please put those out. Yeah, should actually. I might have to ask her. She's doing that... You know, she's with the tongue.

I met her properly, properly at her. at a show recently that she was at and her husband and her son and we were going hysterical I was going hysterical over her like I did over you She's wonderful, isn't she? But you two together Yeah, we do have a good chemistry, yeah

Yeah, because when in the second series and the first episode we meet at the door and we start doing it, ooh, ooh, ooh, ooh, that wasn't planned, that wasn't in the script, that just came out. I don't know what happened. but we ended up doing exactly the same synchronised dance. That wasn't.

We weren't planned. It just kind of sort of came out. That's brilliant. More of that. Are we going to get more? Well, no. I know. Is that true?

Yeah, I feel like two series of it's like neatly wrapped up. It's a part of three. People say that, but I feel like I'm done with it now. I want to move on. I'd like to do Christmas special if I can get the right sort of commission for it from BBC. I'd love to do that. For this year? Well, I don't think it'll be for this year.

The BBC said they could only commission half an hour and the money wasn't very good. And I have to be honest, it needs an hour. You know, because you're unpacking all these characters. But you need at least 45 minutes. You're unpacking all these characters. They've all got their own narratives. Then it's the Christmas narrative in itself.

Then you've got to pack it back up as if it's a finale. And these are complex characters. Under 30 minutes is not right. But we actually need more. But how... Are you really, really not going to make it another season? Don't think so. I'm excited.

I've got other ideas. Can you do a film of it? I would love to do that. Because ghosts are doing a film. I know. They've done a lot more series though, haven't they? But I would like to do a film of Alma at some point. We'll say...

Oh, please do it. I mean, Ab-Fab did it as well, do you first. Yes. They did it years later. But Alma need... Actually, as an audience member... Yeah. We need...

I'm really... really being honest with you, we need more Alma because what it, what it, not only is it brilliant, but it's, it sort of takes us all to a different place and it's what we need right. We really need comedy right now. We don't need to underline about how horrific the world is. No. And all the news. And actually that's why we need the escapism with, with reality, because it's, yours is based in reality. It's not just some crazy weird world. Yeah, yeah. And we do need that sort of thing. So you've got other ideas. You're writing other stuff. Yeah. Yeah. Yeah. So I've gotten, I'm, I'm still on my maternity leave at the minute, but when I go back, a similar vein to Alma, really.

You know, I'm really interesting, female stories, you know, women who are doggedly trying to survive, pushed against the limits, that also makes a sort of social, political point, but without making it preachy, you know, just feel like they're talking with you, not at you. You don't need to underline it, because it just will be. Yeah, and also, again, I just find, you know, writing women that are like anti-heroes, quite enjoyable. So it'll be more of that. So maybe not Almer.

Oh, good. Different. Sue, not this year though. I'll be writing this year. Yeah. So we'll see. But we can still all watch. Alma, I've watched it many times.

Have you? Oh, no, I really have because I absolutely love it. And one of my radio shows that I do, every time we have a TV reviewer on, they always, they'll always say, R-R-R-R.