Walking The Dog with Emily Dean - Sarah Hadland (Part Two)

Episode Date: July 30, 2026

In part two of Emily and Ray's chat with the wonderful Sarah Hadland, Sarah looks back on the extraordinary success of Miranda, the friendships that came from the show, and what it was like being part of one of Britain's most beloved sitcoms.She also talks about taking on Strictly Come Dancing, the confidence the experience gave her, and why she's still happiest when she's performing, whether that's on stage, on screen or in front of a live audience. Along the way, she shares more stories from a career that's taken her from musical theatre to comedy classics and everything in between.If you haven't already, do go back and listen to part one. And if you'd like to see Sarah on stage, she's currently starring alongside Stephen Mangan in The Truth at London's Apollo Theatre until 12th September. Tickets are available at https://www.apollotheatre.co.uk.Follow Emily:Instagram: https://www.instagram.com/emilyrebeccadeanX: https://twitter.com/divine_miss_emWalking The Dog is produced by Will NicholsMusic: Rich JarmanArtwork: Alice LudlamPhotography: Karla Gowlett Hosted on Acast. See acast.com/privacy for more information.

Welcome to Part 2 of Walking the Dog with the wonderful Sarah Hadland. Do try and catch Sarah in her play The Truth at the Apollo Theatre. It's running until September the 12th. You can get your tickets at theapolotheta.co.uk. And do give us a like and a follow so you can catch us every week. Here's Sarah and Ray Ray. At that time, I'm thinking, it's really interesting to me that you've gone through musical theatre.

Yeah. And then you're realising, even when you're playing all these characters, and the bill and this, that and the other. It's maybe not, this isn't me, this isn't my thing. But you know what, that's a work ethic, isn't it? It's like, I'm going to get what's thrown my way, because this is all experience. And also, I think, I was painfully aware that I was making people laugh in real life. I was going into the commercial castings and being really funny,

and then I would book that advert that was maybe not even necessarily comedy because I sort of knew how to engage people. And people were always saying to me, you're really funny, but it never was happening in my work. When would you say? Because I think of you as, I think you first came on my radar properly in terms of horrible histories.

I remember that. Yeah. And even obviously, just you being suddenly, it was like because that became huge. And obviously I imagine there are people of, you know, watching that who grew up with that.

Who were like, oh my God. And it comes through with this generation. You get a new wave. You get like, you know, I was on the platform the other day and a guy must have been about 18 went, miss, miss, miss, you made my platform litmus.

I love you miss, the old Chrome Miss, in the chalk pit. And you're like, I can't even remember what that was. But, and then you get new. Was that your first experience of sort of having a bigger profile? Yes. Yeah. Yeah, definitely. Because it was so successful, so quickly, with parents as well as kids.

Yeah. And then I got Miranda very soon after, so I couldn't do the second series. And then that blew up. And then you had a double thing of going, people either knew you from Miranda or horrible histories. But, I mean, I think what the turning points are getting a, better agent was I could see that I could see all this comedy that I couldn't get into and so a friend

a male friend actress said oh I want I need a female actress to be in this sketch I'm recording like an improvised sketch so I went to be in it and then and I was thinking oh you know I've got an idea for something and then quickly I took over and I said you know I'm going to be a therapist that's really vile

to her clients and we filmed it and I thought oh put that on a show reel and gave that to people and my first sort of big agent was Kate Stadden at Curtis Brown. She took me on on the strength of that sketch. Wow. And she...

She could see your potential as a comedy actress. And I think she showed it to Rachel Freck, who's a casting director who's very, very successful cast, all British comedy. And she said, yes, I would see her on the strength of that. So that was suddenly my inn and then I started, you know, I got tiny parts in the IT crowd, Green Wing, just little peep show. And then it started. And you did that Mitchel and Webb look as well.

Mitchell and Webb Look, and that was amazing because you got to try all these different characters. They gave you really free reign on that show. Brilliant, brilliant producer, Gareth Edwards, who let you, would just say to me, do whatever you want. And you could pick an accent. And so you got suddenly, I was doing that, and then horrible histories and Miranda. And do, I'm going to say something to you, which, I don't know what you'll feel about this, but I feel also that actually what strikes me about you, and I do hear this about you. often say this, you're very well liked. You're very well thought of and you're a nice person

to have around as well. And I think what's really interesting is that yes, you've got to be talented. Yes, you're hilarious. Of course you have to deliver. No one's going to hire someone just because they're nice. But what I'm saying is often incredibly talented people maybe don't get the work because people think, do you know what, I can't face six months with that person. So my point is it's interesting, isn't it that? That it becomes sort of a self-fulfilling thing, that you go, you're brilliant and you deliver, but guess what? I love working

with that person. Yeah, I think there is. I mean, listen, certainly, I would say this, sometimes, you know, I think like everybody, you're in jobs when you're under a lot of pressure and you think, oh, you know, I'd certainly look back at moments when I think I wish I'd handle that better. But I think you hopefully learn and go next time

I'm in that situation. Because certainly with filming TV, I think when you come to be, you know, number one or two on the call sheet. There's a lot of pressure and you think, oh my God, and I think those are massive learning curves. So see Miranda, I'm going to guess you were number two on the call sheet.

Yes. That's amazing. Which was incredible. And I'd never met Miranda before. And also you learn a lot seeing somebody under a huge amount of pressure, the show doing well or not on there, which is Miranda's, you know,

she wrote it, she starred in it. And also you do see that, but also, and this is a really interesting thing, being a woman, you learn that sometimes you might think, no, that's not right, it needs to be like this, or I always am very involved in how my costume is. Like with Joblot, I had really clear ideas about how I wanted to look and how I wanted to dress because I thought,

I want it to be so different to Stevie. And I was very lucky that the team were really totally agreed. You know, and I had the very drab, the Peruna clothes and the sort of the little, the hair and the outfits. We should say we're going to talk about this, but this is the Job Lot, which is. was one of my favourite sitcoms, which, honestly, so happy. So it was so brilliant.

And it's set in a job centre. It's with Russell Tovey. Yes. Joen Wright and Nick Mohammed was in it. Yes, brilliant. And the lovely girl, Akamon, is it? The girl who, hang on, I'm getting this wrong. Was it the girl who went on to be in Gavin and Stacey?

And I can't remember her name. Laura Aikman, who is brilliant, who manages to be both gorgeous and incredibly funny. And beautifully, very, very, you know, when you watch that. That's true of you. She's brilliant. We're going to get back to that because I'm obsessed with it. But that's interesting what you say about Miranda.

But just I think going back to that point that what I've learned is sometimes I feel like I've probably behaved not brilliantly. You feel like you're aware you're being perceived as being difficult and maybe you are being difficult because you're thinking this isn't right. I want to look like this. This isn't right. My hair isn't right. And I've noticed, and all women notice this, you have to be so much nicer.

the goal for women in the industry is to be nice and I totally agree it's conflicting because you think I want to be a decent person I want to be a good person but also I've got my professional standards of things need to be right for me to do my job and you do notice the rules are much stricter for the women it's like people want you to be nice

and I think I want to be and you want to be lovely to work with because people do want to work with lovely people and I think you work better when you're happy and you're nice to people but I think you don't want to be a people pleaser you want to be a job pleaser you want to go do you have to fight that at all yes

and I was aware certainly of that sometimes on job lot that I would be quite no this isn't right and I was aware that it was really like ooh she's being a bit tricky at the same time you're thinking but it's me on that camera it's me and I really have a clear way of how I want to look or how it wants to be or the script or something.

And I was aware that I was treated much more differently to how I've seen men be incredibly difficult and it's almost accepted. Whereas with women, the words, the language around it are much more difficult. Well, it's interesting about Miranda, which obviously, you know, no one needs to repeat how brilliant Miranda is.

We all know that. And how brilliant your performance was in that. And what I love about Stevie, your character, I think what's so clever about it is she has that thing in common with I suppose all great comedy characters I think which is a lack of self-awareness like David Brent has it

You know it's kind of she thinks she's so much better than Miranda But she's not She's just as disastrous in a different way She's nailed it Stevie is just as bad as Miranda She just doesn't think she is She's got a clipboard

And she looks at Miranda and thinks Oh God you've got it all wrong babe I'm good But she's slightly worse She's worse Because she's got no awareness It's incredibly sociopathic in the way she talks her and says, Not being rude, but...

But we absolutely... I mean, I remember the day I first met her, I'd had a row with some scaffoders outside my house, and I was in a really bad... Because I'd done a lot... They've made it clear they wanted someone to bring something to that role, and they weren't quite sure what.

I gather they'd seen everybody, and she says they'd raised my name, and she thought got me confused with somebody else, but I came in right at the end. And I read the... script and I thought, I don't really know, understand this. And also, I looked at Miranda and I thought, well, she's this very posh girl. What have we got in common? Absolutely nothing. And I remember walking in and just kind of bombarding them with, because I've made loads of notes on my script.

I had lots of ideas and I'd left my script on my car roof because I've been arguing with my scaffolds. And then I just bombarded them with this story and then helped me. And then help myself to some sweets that were on the table, which you don't really do in an audition. And I obviously just felt so relaxed with her that I kind of was fine with that. And then we read and there was just, it is that cliched thing if you just go,

there's something there that doesn't need to be said. And then we were sent away together to improvise at her flat with a camera. And the dynamic between us was such that it was just like, I mean, I remember I constantly sing and that's how come I just went whatever and she went What are you doing that?

What? Don't you love that song? Why are you doing that? And I was like, I don't know It's just makes you feel good doesn't it? And then that was in She was like yes

And then that evolved into it. It became a huge feature of the series You know Kind of revived Heather Small's career And the good thing was Is I think she realised When Heather got wind of it Her son came home from school

And said about it And she realised that it was Absolutely reverential Yeah, yeah Yeah I was obsessed with Heather Small And so she knew it wasn't a mocking thing, it was like,

oh, we love you. But I think what was great about that show is what Miranda was so brave about is that came out at the time of the office and everything where people were like, no, we want observational comedy, we don't want, and she said, I want to make a trad sitcom, a studio sitcom, in reverence to Morecam and Wise,

and that's what she wanted to make. Sort of are you being served? Yeah, people like, no, we don't want that. And at the time, I just finished filming the second series of, moving wallpaper which was a quite an observational and it was very observational very much reverential it was a sort of TV show within a TV show kind of thing yeah and it was very observational and very low key and so it felt quite weird to me to be doing this and quite we did the first

studio record and the audience went bananas and I remember thinking we she's obviously got all her friends in and her relatives and she went no I haven't I haven't got anybody in and I haven't And I was like, well, people absolutely love that. And then it grew quite quickly. And it was, I wonder as well if there was a bit of, oh, this is just some weird sitcom. It's just going to go on weird slot. Do you think also, sir, this is just women doing some. Do you know what I mean?

That actually, I remember reading something that you said at the time, which was fascinating, which was how one reviewer, who's no longer with us, had referred to your show as women being infantilized. And you know what really struck me when I read that is that's the sort of comic engine of all male-based comedy. It's the hangover. Thank you. It's dumb and dumber. Thank you. It's kind of everything.

That's the point. Yeah. That's the point. It's a peep show. Yeah. It's been behaving badly. It's just kind of that thing of also saying women, women are really goofy and enjoy slapstick

and can be silly and bumbling. And it's like, and also that she had Penny, Patricia Hodge, you know, Stevie. Sally Phillips comedy queen, that she had the main four characters, and then the boyfriend was the last character. But the main four were Penny. Who, to be honest, is there, and I like that. I loved that sort of because they're sort of lusting over him.

And it's kind of, you know. Yeah, it completely reversed the whole thing. And I think what became apparent really quickly... And Tomolus, which is also brilliant comic acting. He's great in it, and he really brought... He understood the remit. He brought that. He was still funny.

And he was still... And it caught really quickly. We were getting cues because we were filming at the same time as strictly. We were getting the same size cue as strictly. And it was mad. This was at the BBC. At the BBC was bonkers.

How did you find fame when you first started? Because that must have been quite a shift for you. Yeah. Yeah. It was. It's quite weird, especially when you definitely are not expecting it. Because prior to that, I'd done lots of shows like moving wallpaper where you think this is going to be a massive hit.

I did a drama. with a comedy drama opposite David Tennant that Jessica Hines had written that was brilliant and I thought, this is going to be it. I'd done, you know, confetti, this big film, this is going to be it. And then I did this and I thought,

I don't really understand what's going on here. When she was talking to the camera, I was thinking, I remember with the pushing as well, I thought, I don't really get this. Is it what? What is going on here? And then I think when it happens that quickly, you're just really not expecting it

And you just think, oh my God. I remember once driving my car into a dead end. And there was a pack of teenage girls. And I referred to them as a pack because I find teenagers absolutely terrifying. First of all, they're usually taller than me. Everyone's taller than us. Yeah. I mean, and you're just like, oh, no, no.

And I was trying to do it. And I was trying to do a three-point turn that had gone into about 95 executions. And they spotted me. And they all went bananas. And I was terrified because I thought, oh, my God, what's happening? and they were all singing, what have you done today? And that was the first time I realized it was popular with teenagers,

which we'd never foreseen because they were going. That's how we feel. We feel like you're telling us that adults feel the way we feel, but they just mask it. Nobody knows what they're doing.

Everybody's bumbling about and all we're doing is pretending, you just might be pretending slightly better than somebody else that you know what you're doing, but you don't. And anyone that says they do is lying,

they're a psychopath. And it suddenly tells all these anxious teenagers that adults don't know what they're doing. They don't know what they're doing. And we just want to mess about. We don't want to give up all the things of childhood either. Did you find your personality was suited to, I suppose, attention? You know how some people, it's a hideous thing.

When they start to get recognised, you know, I've got friends. And it really is. You can see how some friends are sort of like, you know, I love that about Frank Skinner's got a funny, when he would say, I'm staying in a hotel. I hate it when celebrities don't go down for the breakfast. And I'm like, why? He said, oh, that's one of the nice things being recognised at breakfast.

Some people fall in that camp. Some people fall in the camp. Frank celebrates it, that's fine. But I get that I have friends who also, it's the thing they like least in some ways about the job. Where do you stand? I think it's that I have only had a positive experience of it. So I would be lying and I would be so disingenuous.

It's only ever loved. Excuse me, the time I find it hardest is when I'm with my child But generally again, people are very respectful And I find that... And how is your kid with that? My kid is kind of, I mean, coming out stage door, it's sometimes quite a lot, they're used to it, and I think because we live in an age of phones, selfies are kind of water off the ducks back.

I think they used to it. But do you remember your child saying, Mommy, are you famous or something? Well, that happened very quickly at primary school because the older children recognise me. immediately from horrible histories. Of course. So they said to my child, your mum is in the show.

My child then said to me, what's hobble histories? And I was like, oh, it's a program. Showed them. And they were a bit like, oh, that's you, but looking a bit different or talking a bit different.

Oh, okay. Then, say, for example, I was going to do a chat show or something, and then I would put my child with a friend and they would put it on. My child would literally just be like, that's my mom.

And we've got hilarious videos of me in the background. And the person going, look, there's mummy. And them just going, yes, I get it. My mum is there. So I think what happens is your child just sees it, expects it, and it's just... It's just normalised. Yeah.

And they get used to people spoting you. I mean, once we were coming out of a shop. And somebody went, where do I know you from? And my child went, Miranda, she's Miranda. And I was like, well, I'm not... Yes, you are. She is. She is.

I've seen it. I like upgrading you to number one on the call sheet. I straight away rung Miranda and went, just so you know, if somebody puts this on social media, I'm Miranda now. But I think they see it as normal and have a very normal attitude to it, which is not really of interest

because that's just my mum on TV. And I love, can I say, I find your friendship with Miranda incredibly wholesome? Do you know what I mean? It's something so lovely because you can tell it's genuine. And when you did strictly,

the level of excitement, you know, and she strikes me as a pretty private person, you know. And what I love is that she broke through that because she was obviously so passionate and obsessed about the fact that you're on this show. It's like she went not. She was like, no, I'm going to support my friend.

I mean, when she came to the training studio, that was amazing because it was lovely because also just being with each other on camera, what is fascinating is you click into something instantly when you're with that person. And straight away, we're both like, oh, we want to film something. again together because you just immediately have that ease.

You know what they're going to do. They know what you're going to do. This is you and Miranda. Me and Miranda. It's quite a weird thing that you just know. So you guys, I reckon, we'll work together. Oh God, I hope so because that kind of connection is just very, it's very precious and it's very unique.

And I was lucky enough to work with Russell, Tovey, and we on job lot. And we had a very similar thing. You have to have that because if you're with somebody a lot. and Sally Phillips I'm very close to, Patricia Hodge, you're in, I think also experiencing Miranda becoming very big, you're in it together and you're experiencing together and that's quite a weird thing. I was going to say, I noticed that, I keep going on about him, but I do it, but Frank and David, they both got famous together. And I often felt that was quite nice for them, that it's like, oh, suddenly people recognise us, this is a bit weird, you know, but it's nice that you and Miranda that happened to both of you at the same time. registering it together. And if you're out together, it blows people's minds. I bet it does. We've been on planes together and people literally think you're filming something. I mean, she was, we were on a flight once and she was in business class and I was in economy.

I'm loving that already. Which was hilarious. And I came up and... Was that because whoever was sending you out there was paying for her and you? I can't remember why this was. But I love her. Because we have been in business class together and she was fuming because I was like, the bed's too big. My feet don't touch. And she was like, shut up. top, shut. And again, people thought we were being filmed. She was like, tiny little, she calls me TLC, tiny little caller, and I call her giant. And she said, TLC, pipe down. Please pipe down. Over the thing, pipe down.

And again, people are thinking, is this being filmed? And I'm like, roomy, feet can't touch there. And she's like, don't want to hear it. But I was trying to, I wanted, she put something in an overhead locker of mine, and I wanted to get it. Now, obviously, I can't reach the overhead locker. You can't reach. So I was jumping.

And she was like, get down, stop it, get down. And I was like, no, I can. And people, literally, people are going, is this being filmed? And then in the end you went, get out, get out of this class, get out, get back to economy. And we were both hysterical. And again, people thinking, is this being filmed. Miranda is shouting at her. Get out. TLC, get out.

I mean, you do, you know, you slip into things because you can't help it. But, I mean, going back to the same thing, I think, for me, I think, like I say, people have only been lovely. Miranda is definitely a show that has got people through a lot of difficult time. That is consistently at least once a day I will get somebody if you're out and about or come up to you and say

my family got ill or this happened to my family and what got us through it is we watched Miranda as a family and it became a comfort and there's a benign aspect to it which I like that it's not cruel. No. And I think, do you know what to me? And there's a place

I'm not saying there's a great, there's a place for a serbic, sharp, cruel comedy. Yes, of course there is. You know, I love a bit of succession. Yes. I love my Larry David. Yes. But then there's something about that,

which feels like getting into a warm bath while you're laughing. And I think, and I understand because nothing in this country makes people more angry than liking a comedy that they don't like. But you have to respect if something brings people joy and it gets them through a hard time. And, you know, often people say it's the only show that the grandparents can watch, the parents and the kids and all be laughing together. And you think what a privilege to hear that you've got people

through the darkest moment of their life, especially when it's, you know, a close friend will reach out who maybe it's not their kind of comedy, but they'll say I have to reach out to you because my partner or some friends were ill and they said they watched Miranda every day. And thank you. And it's quite a humbling moment because you're like,

my God, what a privileged thing to know. that in somebody's darkest hour, you brought them a bit of joy, it's an incredible privilege. And, you know, so when people come up to me, I'm always so grateful and feel very lucky. And the same with horrible histories and... I love that because I think that's, you look quite moved by that. I am moved by it because you think, my God, you can sometimes feel, and I know this happened a lot during COVID, that you think, God, what is our job? And in COVID, actually, a lot of people, you know, who are.

doctors and nurses who were doing some really grim stuff and were seeing some grim stuff said they wanted to go home and watch a show like Miranda because it completely took them out of what was happening. I think that's really common. I remember my sister, God rest of the soul, no longer with us, but she died. And I remember one of the things when she had cancer and she was in hospital, she said, well, you, you know, you're desperate to do something practical. And she wanted to take a mind. She had two kids. It was really sad because she was, you know, knew that she was going to be leaving her kids. And that's what she wanted. was distraction.

And she said, download Peep Show. Download Alan Partridge and all these things. And I remember telling David Mitchell, and it was interesting. He's such a lovely man anyway. But I could see it. It was so lovely seeing that it sort of like you are now, that he was visibly moved by that.

God, this is her last few days on earth. And she's choosing, my comedy's helping her in so much. It seems insane because, and it comes back to a much bigger thing that, you know, there are no more important. people than our emergency services, our teachers. But you need art is so important because it gives people sanctuary from the harsh realities of life.

And so obviously you can't in any way compare that to what they're doing, but you think that you can help the people that are doing those jobs. And you think, God, that feels amazing and wonderful. And the fact you can go to a hospital or a children's hospital and children are excited to see you. You think, again, you think, God, how privileged. lucky that you can do that. It is an amazing thing about our job that I never,

you never even contemplated before and now you think, you know, and people get very emotional when they come up to you. And it's very emotional to receive that. But I think you're okay with that because you strike me as someone that's comfortable with emotion. Yes, and it's lovely because you kind of think how great that you can connect with that person in that moment and be like you've meant something to them

and you've never met them and that's what happens at stage door every night. You know, people come and see the show and... So we need to talk about your brilliant play and I can say, I can officially call it brilliant because it's done so well. It's been, your views have been incredible, it's called the truth. Yes.

And it's kind of, I don't want to give too much work because I know a bit about it but I think people seem to simplify it and say it's about, you know, whatever affairs or something. It seems to me like it's a, it's a sort of a dynamic of relationships essentially. Yeah. I mean, it's what I love about this play. It's called The Truth, as you say,

and it's a French play by a brilliant writer called Florian Zella, who I'd been very fortunate to work with earlier in the year. I did one scene in his new up-and-coming film, which is going to be... Have you got an impression nailed yet? He's very intense and very... What I wanted to do on this take from me.

I mean, so intense. Can I say I'm a bit in love with him? Oh, I'm a bit... We're all a bit in love with Florian. Anyway, I got this tiny part in this film called The Bunker. Guess who my scene is with? Oh.

Havier Bardem. Let's just take a moment. Now, Ray, Ray, I've worked with Javier Bardem, Ray. We're just putting the earphones on him. I think I fancy you a tiny bit more. And Javier Bardem is, oh, I mean, he's just everything. Absolutely stunning. But also the advocacy he does for women, you just feel like, oh, yes, Javier, yes.

He's an ally, gorgeous, professional and just brilliant. brilliant. So I did just, had a scene with him in this film. And then when I got back, and it was one of those moments when you go, oh God, I just, all I want to do is be in Florian Zella films for the rest of my life. I mean, it was just an amazing experience. And then a few weeks later, I got off with this play. And I thought, well, surely this is because of the Florian. I've just, but no, they were completely separate.

And you just think, oh, my God, I can't believe my luck. It's a forehander. Yeah. Stephen Mangan, dream. I've worked with him. Amazing actor. a lovely human being. You just go, yes, please.

Ardlo Hanlon, we've played husband and wife in her pilot. Again, yes, please, lovely. And Janie D, who I'd never work with, but I mean, God. Do I know her from a musical theatre? I know her from theatre. She's won a million Emmy, Tony's, Olivier's. Yeah, brilliant, brilliant. Yeah, brilliant, brilliant.

And you go, and I'd heard that she was lovely. So going back to what you're saying, you go, yes, please, because I know these people are lovely. Yes, I want to spend. my summer with them. And Lindsay Posner, the director, is a genius. Everything he directs is brilliant. So you just think, I can't quite believe.

And it's 90, 90, 90. I'm going to come and see this. Oh, please. Come in at 8. You're out by 9.30. Maybe taking in a little ice cream or a spritzer. What are you not loving? If you're a parent home, cheap babysitting night out,

if you want to stay out, the night's still young. I'm coming to see it. It starts at 8 so you don't have to break your neck. get there. It's at the Apollo on Sharsby Avenue. It couldn't feel more showbiz. We're next to Oliver Twist than Le Miz. I feel like I feel like I'm living

a childhood dream. I remember coming to London when I was 16 at this theatre school. I was constantly, I was such a square. Everybody was going out clubbing in London. I was taking myself to see Blood Brothers. I was taking myself to see Edward Fox in a play at the windows. What was

I doing with my life? That's what I was doing. And I can't, every single time I walk up Shaftby Avenue, I get really emotional. I think, I know it's really cheesy, but I think of my teenage self, and I think, could you ever have dreamed? And in this particular production, they have our names and our pictures in lights. Oh, I love that that's making me cry. I think, could you ever have imagined that little Sarah Hadland from Wilmslow, who only got into one theatre school who went to youth.

subsidised youth theatre, could you ever have imagined that this would happen, that you be in the West End? I mean, it blows my mind. It blows my mind. And I want to go back to that little 14-year-old at Cheshire Youth Theatre

and go, it's going to happen for you. It's going to bloody happen. You're on this subsidised course and the dream is begun. The fire's lit. You're like, I want to do this. And you've done it. I mean, it blows my mind.

And I think, because I did used to walk around the West End and just enjoy doing that as a teenager. I just used to enjoy it. And that's why I loved usheretting because I just thought, I'm getting paid to watch a show every night. I mean, it isn't my dream come true.

I feel like I'm living my best life. And I get to bring my child into work and they sit in the dressing room. I mean, they did look at my first costume, spoiler alert, and say, Mommy, you can see your pants through that costume. and I was like, yeah, but it's okay, I'm going to be in bed. In bed in the show?

Yes, and let's just leave it there. And, you know, you think this is incredible. I can't believe. I can say from my mum, when she was in the theatre, we'd go and see her. And I can remember it was a really lovely, I think what it gave me from growing up around, you know, actors and it was as a child, that sense of camaraderie and teamwork. And I really did. notice now I love working with teams. I love that camaraderie you get. You're in a gang.

You're in a gang and I love that and I can remember thinking they were sort of much more intense. My dad worked for the BBC and he worked in, you know, documentaries but her friendships were much more intense. These people would become ride or dies. Yeah. Mostly gay. Yeah. Yeah. But you know they're good friends. Yeah. And I can remember my dad's were friends but this felt different. Yeah. It's a real... Well I think also you're

introduced to such a, my child has met so many people from different walks of life and like you say different sexual orientations and you're like these are all amazing people and hopefully your child just accepts everybody your child just goes oh these are just people my mum work and it's wonderful. Because you don't have that idea

I remember looking at other people's friends and I was a bit like I'd look at my parents' dinner parties and it was like one single woman like Lindsay DePaul then a gay couple then this thing and then I'd go to my friends who were sort of accountants and things and it would be the Joneses from down the street It was four couples, four straight couples. And I kind of love that I was never brought up with that.

And I think it makes your child much more open to going, Hello, who are you? My child will make friends with anybody. I don't care what your sexuality is. I don't care. Who are you? What are you fun? What you got going on?

Do you want to do Lego? What's the story? And it's brilliant. I mean, my child will enter a playground with the hello friend. Do you want to play? And then we'll leave and I'll be like, oh, I'm so sad. I really miss my friend. What was their name?

I don't know. But I really miss them. And you think hopefully they're seeing that you have these relationships with people who are interesting, who are fun, who are open, who are welcoming. And I mean, yeah, it's amazing. Do you know, I'm definitely going to come and see this day. Oh, please do, because I love you and I love the sound. And I'm fascinated because I don't know if this is relevant,

but one of my favourite plays is betrayal, the Harold Pinter. Now, this is, Florian loves betrayal. And actually, Janie D has been in portrayal by, by, by Pinter. And this play, A, it goes past in a flash. B, when we were rehearsing, we got to the point, as you always do with comedy, we used to have with Miranda, we get to Unfunny Friday and we go, oh no, this isn't funny. This is not everybody, this is not funny. And then you come in front of an audience and you go, oh, it's funny.

But we had this with the play. And the first time we did it in front of an audience, the first preview, we had Florian had flown in from Paris. We had the brilliant genius Christopher Hampton who adapted it. So we were like, oh God. He's doing his liaisons. Yeah, incredible.

So he'd done the translation, brilliant translation. And then you kind of go, oh my God. And before Stephen and I even speak, the audience started laughing and you were like, oh, God, okay, we're good to go. And then they raw, I mean, the audience go bananas. But you seem to get that a lot. I'm just saying.

I'm going to, we need to wrap up to it. Oh, do you know what? How is the time? I could talk to you for hours. I've got so much more to give, but yes, we're going to go. I could talk to you for hours. Likewise. Can we be friends?

Can we have a part too? Can we be friends? Yes. We've had such similar. It's fascinating. I think sometimes you're meant to meet people. But you know, I will say this, and I don't know about you how you feel. I feel like my journey to get to where I've got had to be this way.

You have to look at all the different things and say, this got, this is what I made of what happened. And there's no doubt it was painful and difficult. And, you know, I do look at other. families and think, oh, I wish that. But then you go, no, because this is the life you've had. And you also meet lots of people along the way who have truly awful lives. And you think, my God, you know, I'm so lucky to have had the good bits I've had. And yes, there have been bad bits, but it's the grit that makes the oyster. And I really believe that. And it's also, you know, what I notice with you is you're someone who feels a lot. And I also relate to that.

And for a long time, I don't know whether it was when the kind of era we grew up in or, but especially as women, that was associated with being hysterical. Yes. You know, it was associated. You know, there was a guy that we used to know. My sister, God love her, always used to say, she had a thing called Madmate. And you'd get men and she said that they would say, oh, I split up with her, madmate. And my sister used to have this thing and she said, is she mad or is she mad mate?

And I loved that because she was kind of saying, It's a dismissive thing that's so I think I always felt because I was like you. My dad always said, Emmy shows emotion in excess of the fact. So it's this idea that... Okay, I'm pulling a face. If you can't see, I'm pulling a face. I reacted in a very, you know, it was all or nothing. Yeah.

And I'm still like that. Same. If I hear a noise and now my friends love it. Oh my God. Like Steve, that came out of me in real life. You know Steve goes, that came out of me in real life. Miranda was like, I've just walked into the room. You saw me coming in. And then I said something.

and you react as if that's me. Well, I think... My child sometimes has to warn me if they're coming... Mommy, I'm coming downstairs. Because I'll go, what are you doing? That is me. I do it all the time. Frank Skinner says to me,

you sound like Albaat in La Cajal fault. Because we'll be... I did it yesterday. I was walking down the street and some workmen dropped something. And I went, oh! So, but I think that's interesting. Oh, I love that you've touched on this

because I worked with someone the other day. Sean Gibson is a very good friend of mine. Please get her on this. extraordinary human being, extraordinary human being, amazing. Because of her, I was able to do one of my first jobs after having my child because she was number one on the call sheet

and Johnny Vegas and I needed to work very short hours and with her graciousness I was able to do that because of her. She's amazing a very, very good friend of mine. And someone, I met someone the other day that was working with her and I said, oh yeah, she's crazy and I said, sorry? Now years ago I would have gone

and thought, is she? And I went, what do you mean? She's not crazy, very clever, very funny, amazing personality. Not crazy. It was a man that said it by the way. And it was a great moment because they went, oh, well, what I mean is? And I was like, what do you mean? Because I'm exactly like Sean. And I told Sean, I was like somebody just, and I said, because I know it's been said about me. I think Ashling B, and I need to fact check this, does a great quote about this. Men are funny, men are quirky, men are hilarious. Women are unhinged. And it's like, no, I've just got a personal. and I'm funny and maybe I'm funnier than you

and you don't like that. So in order to deal with that, you've called me mad or crazy. I'm just funny and you don't like it. And maybe you're a bit boring and you're a bit... Some of the men that have said that to my face in comedy, you're like, you're a bit odd.

Just so you know, you're a bit odd. And you're not very likable. When you come in the room, you're not that likable. People don't like you. that's the problem. But you've decided to call me the mad one. FYI, you're weird around women and don't know how to be around women.

The two of us here, I'm not the mad one. But that, I'd please God let that change and let women be more confident about going. Well, there was a horrible thing I used to hear that men used to say about dating and they'd say, never marry the crazy or don't marry the crazy. Jesus.

And I think, no, don't marry you. Yeah, exactly. And also that I remember another thing I heard once. said, and I was at dinner party, this was in the 90s, he'd never say this now. Yeah. He said, the thing is, men never marry loud women. And I said, and what does that say about men? Yeah.

And also that a lot of women, you know, and certainly, I think growing up in the 70s, a lot of women were very oppressed. So somebody that was loud, and no wonder you thought they were crazy, because the other women, it's like, you're actually, yes, of course, you are above. But I think that's a reaction to some people being squashed down, that you feel it. And you go... Or they had to take Kualud's housewife for years. Like that's how they'll drink. That's how you got through it.

And you're like, oh, the other women are going crazy, but just in a way that suits you. And it's like, actually, I won't tolerate it now. And like I say, years gone by, people have said that about me or about my friends. And I've just awkwardly laughed and thought, oh, are they? And now I go, no. And that's the... That felt great to call it out. So great, isn't it saying that, yeah.

And then to say, and just why you're... I'm not saying this to be... I've had it said about me. And people have said it. to my face and behind my back. And you're just like, no. And every time you advocate for another woman, it's really important work.

I need to get Ray. We're going to have to wrap this up. I just want this to carry on forever. I'm going to get Ray so you can say goodbye to him. Oh, stop it. I think it's be very emotional. Oh, God, it's going to be emotional. Ray!

Oh, look at his little face. Oh, God, his tail starts wagging when he sees her. Ray. Don't shame him. We've all had incident. We've all soiled. Ray, I've sold. I'm spoiled myself. There's no shame in it. Oh, God.

Come here, Ray. Ray. We're going to end this podcast now. I have so loved having you on here. It's been like free therapy. If you want to send me a bill, please do. I've honestly loved it. And I'm so thrilled. I'm definitely going to come and see you in the truth. Please do, because I think you'll really love it. I might sneak Ray Ray in as well. Now, what if I told you this? There are two dogs backstage, a miniature of

long-haired dashing called Henry and in the company office Darcy if you, Ray, I'm dead serious. Ray could go in my dressing run. I'm offering it now. Would you be up for that? Would you like that way? Oh my God. I'm dead serious. Would that be fun, Ray? Yes. But listen, to plug the play, it's 90 minutes of joy. People laugh their heads off. And I will say this as well. In this day and age, it's so bleak out there. I can't, the minute I can't handle bleak TV, bleak film or bleak theatre, I want to laugh.

This is the play. I can't wait to come and see it. It sounds so great. It's very, very funny. Congratulations on the amazing reviews you've heard. Oh, thank you. Thank you. Sarah, it's been an absolute delight. I could have not to you for hours. I know, I could be like, let's just stay here till midnight. I'm not coming into work today, guys. My pleasure. Thank you for asking me. What's your final thoughts, Rie Raymond? I mean, the way he's looking, he's looking into my soul.

I mean, It is a cliche, but as I get older, I just love animals more and more and more. They bring us just so much joy, don't they? I say goodbye to Sarah. I love you. Listen, I love you. This isn't the end. We're going to see each other again.

You're perfect. Men want to be you. Women want to be with you. Oh, thanks, Sarah. Your breath is so bad, but it doesn't. Your breath smells like bottoms, and it doesn't put me off you. And you can handle me. You're more than enough man for me, Ray.

And I've worked with Daniel Craig. I've been in a Bond film. You're better than Daniel Craig. And you're just scraping Javier Bardem. I really hope you enjoyed that episode of Walking the Dog. We'd love it if you subscribed. And do join us next time on Walking the Dog wherever you get your podcasts.