PAUL: Hello and welcome
to Regrets I've Had a Few.

I'm Paul Hunter, Artistic Director of Told
by an Idiot, and this is a podcast where I

talk to friends and colleagues delving
into what made them

the person they are today.

Hello and welcome.

My guest this month is an award-winning
experimental company.

Their work collides theatre,
performance art, cabaret, music,

and nightlife., and their outrageous chaos
has been delighting

audiences for over 10 years.

Welcome In Bed with My Brother,
Kat, Nora, and Dora.

Um, it's lovely to see you.

I've obviously met a couple of you.

It's really nice to meet you, Kat.

Thank you so much for joining us.

Um, now I've got to start because we get
asked this all the time about our name,

Told by an Idiot, so I have to ask this.

Where does your name originate from?

KAT: Um, so our name originate— well,
do you want to tell the story?

Because I guess it's from you.

NORA: I guess, yeah.

So when we met at university,
um, and while we were there,

there was university productions that went
up to Edinburgh, and they used to,

uh, interview for new directors, interview
for like cast, that kind of thing.

And I went for the role of the
to direct a piece at university.

And the interview was going really well,
I was on form,

um, and then the final question was like,
who— what theatre companies really

inspire— are really
inspiring you at the moment?

Who do you see yourself being like?

And I don't know why,
but in that moment I panicked

and kind of made up a name,
which is— which is In Bed with My Brother.

I was like, In Bed with My Brother.

And the person interviewing me was like,
oh yeah, they're great, I know them,

they're really experimental,
really like lots of movement, right?

And I had to be sort of like, yeah, yeah.

And then from that we were kind of like,
oh, if we ever do anything— we had like

other names we were maybe going to go
with, but we like, we have

to be In Bed With My Brother.
Yeah.

Um, just to pay homage to him— them,
I'm never going to name him.

KAT: Also, yeah, it'd be so great if he, um,
remembered that interview, was like,

oh yeah, In Bed With My Brother,
maybe I should go and see them.

And then we're just on stage,
we're like, hey!

PAUL: Well, that is a brilliant
reason to name your company.

Have you ever encountered this
person since that interview?

NORA: Yeah.

KAT: Yeah.
It's ok though, he didn't remember.

PAUL: Oh, okay.
That's okay then.

That's all right.

And he probably won't
tune into this either.

He'll be listening to a podcast
from that company In Bed With My Brother,

I suppose, the original company.

Anyway, you all met at Exeter University,
is that correct?

ALL: Yeah.

PAUL: We'll come to that later,
but I want to take you back to your early

experiences of performance or anything.

I'm curious, when you were little,
what or who made you laugh?

Kat, what made you laugh?

KAT: In what kind of sense?

PAUL: In the sense of something that you saw,
whether that was on stage

or on TV or on film.

Was there something you remember
that you remember

enjoying and laughing at?

Might not be, just a—

KAT: I guess when I was like younger, I,
I used to actually watch quite a lot of

Laurel and Hardy.

PAUL: Ah, okay, okay.

Who did you watch them with, or alone?

KAT: I think because, um,
when I was younger, I used to spend a lot

of time with my dad's family, and they
were really into like TV,

and we used to watch loads of stuff.

And they were really into— yeah,
I used to watch quite a lot of like

Laurel and Hardy and Ripping Yarns.

PAUL: Very good.

KAT: I feel like I used to come to school
and everyone would be talking about, um,

I don't know, like the new
like S Club 7 thing.

I'd just be doing quotes
from Ripping Yarns.

What's going on with you?

So out of—

PAUL: Can I ask where that playground was where
you were doing quotes from Ripping Yarns?

Where were you living as a small child?

KAT: Um, I grew up in Rugby.

PAUL: Okay, yeah, not far from me.

I'm, I'm a Brummie, Birmingham.
KAT: Yeah.

PAUL: So I get that.
KAT: Oh nice.

Well, you're from Birmingham.
Whereabouts?

NORA: I'm from Birmingham as well.

I'm from like Sutton Coldfield.

PAUL: Oh, okay.
That's almost Birmingham.

ALL: Almost Birmingham.
KAT: Yeah.

ALL: Where are you?
PAUL: Um, I'm from Harborne.

NORA: Oh, nice.

PAUL: Anyway, that's enough about Birmingham.
We could get sidetracked there.

Uh, Dora, what about what made
you laugh when you were little?

DORA: I think classically,
to be honest, The Simpsons.

Oh yeah, I think, ah,
yeah, I feel like my mum—

it was something me and my mum could watch
together when I was really young,

and she was getting a lot out of it,
and I was getting something out of it.

She always used to say that that I went
through points with it where I was just

laughing at the yellow people
and not really understanding the jokes.

And then as I aged up, I started
understanding stuff a bit more.

But there's still stuff now that I don't,
don't realise that was— The Simpsons

were referencing something else.

I just think, yeah, The Simpsons is my,
like, touchstone for culture.

And then I discover the thing that they
were, like, taking the,

the mic out of, like, later.
If that makes sense.

PAUL: No, I, I totally get you, and I had
a similar experience to your mother.

I,
my son Dexter got into it when he was much

younger, and we watched it
together and laughed together.

And he turns 16 tomorrow,
and last night we stayed up after

the football and watched
an episode of The Simpsons.

So I totally get that intergenerational
kind of, and the fact that you can laugh

at really stupid things in it that happen.
ALL: Yeah.

PAUL: And then also really
great satirical things.

Very good.
Nora, what made you—

NORA: I watched a load of things.

I feel like I was— when I was really
little, I was really into Mr. Blobby,

and I actually met him.

And I think now I'm like, oh yeah,
that reads so much for who I am,

because he's got like, yeah,
comes in and breaks everything.

It's that kind of slapstick
I was really into.

I used to watch a lot of soaps as a very
young child, but I don't know

if I was laughing at them.

Um, and other than that, things like
The Goonies I used to think was hilarious.

I loved The Goonies.

And Mr. Bean, I loved Mr. Bean.

PAUL: Yes, of course.
Of course.

NORA: A lot of like people falling over.
KAT: Yeah.

NORA: They're like really—

PAUL: Well, I suppose in a way all of your
references,

maybe less so
Michael Palin's Ripping Yarns, but

I remember a Ripping Yarns I loved,
which is when he's football obsessed.

He's a football fan and he— anyway,
we're going down a sidetrack here, Kat.

We'll have to do a separate
thing on Ripping Yarns.

We'll save that.

Um, anyway, I sense a kind of slapstick,
uh, connection going on there in your

past, which— would you say that level of
kind of physical, comedic,

physical violence is something that you've
continued or,

or that's come from those influences?

KAT: I guess when we first started making work,
we had, um,

I'd say collectively there is a
comedian that we all really admired

and like still to this day just
find him the funniest person.

Have you ever watched Trygve Wakenshaw?

PAUL: No, no.

KAT: Tygve Wakenshaw is this
most amazing— well, he's a mime,

but he's this physical comedian who's just
got the craziest body

and can do absolutely anything.

And when we first started making work
together, we'd gone up

to Edinburgh and we'd seen him.

We were like, oh, He's such
a big inspiration to us.

Love to be able— that way of like physical
comedy and just like comedy in general,

we just find really important.

And yeah, I think it's
something that all like really—

PAUL: is he still working?

KAT: Yeah, I would highly recommend
anyone to go and see any of his work.

PAUL: I will, I will.

Because it's interesting when you
start going to Edinburgh, isn't it?

And you— the things you see when you're I
suppose in a different way,

uh, I remember seeing, um,
oh God, now my brain's gone for a second,

Count Arthur Strong,
for the first time in a tiny room

in Edinburgh, and thought,
who is this mad guy who has this persona?

And, and sometimes seeing it
live has a very potent— well,

obviously live has a very potent effect.

Talking of live,
do you remember your first performance

of any sort in the school play or
in a youth theatre?

Did— or did— or did performance
come later for you all?

KAT: Um, I was in a— I remember,
I remember when I was about 8 and I was

in a show at the village hall
called Rosie and the Bad Apples.

And I remember going and auditioning
with like all of like the other little

kids from my class
and everyone was singing, um,

I don't know,
everyone was singing like Britney Spears

and loads of songs and I went
up and sang Old MacDonald.

I was really like,
Old MacDonald had a farm,

and everyone in the village
hall was just stunned and awed.

And I remember,
I remember like going home and then my mum

getting a call from I feel like
her name— what was her name?

I think her name was Fanny.

She was getting a call from Fanny.

Fanny was really like,
just got to let you know, Sandra,

Katherine is going to be
playing the part of Rosie.

And I remember just being there like, wah!

Like, I'm going to be at the village hall.

I'm going to be Rosie.

And yeah, I just had a—

PAUL: and also, you, you know,
very whether it was conscious or not, you,

you didn't, you know, go down
the obvious route of Britney Spears.

You, you went in some ways went
to something slightly more classical

with Old MacDonald, I suppose.

KAT: Um, exactly, me and my yarns references.

PAUL: So, you know, yeah, it's, it's a very
eclectic cocktail you've got going on.

Nora, Dora, did you get involved
in theatre as teenagers?

Was it starting to cook up then, or—

NORA: Yeah, I did so much.

I've always been a bit of a theatre nerd.

I've always— I feel like
one thing I'm always like is that I feel

like the past— every stage of my life I've
been preparing or in a show,

which is like a humble brag.

But for most of your kind of like
childhood or teenage years,

it's like a hobby, isn't it?

It's like, oh, I do like
drama clubs, I go things.

And then slowly people peter off,
and then it was like, yeah, uni, whatever.

I did like a comedy club when I was,
uh, about 10, 11.

I started a comedy,
like, free club down the road

in like the community hall.

And I feel like the first— I got into it,
and my first role was

playing Jimmy Saville.

Which was like—

PAUL: Things, things take a different turn.
NORA: Yeah.

So now I'm always like, yeah,
that That's weird that my first outing as

like a 10-year-old was
playing Jimmy Saville.

And then did lots of bits like that.

Was always in like school play.

I played, do you know Ellen DeGeneres?
Is that her name?

The sailor?
Not Ellen DeGeneres.

Ellen, what's her name?

KAT: Oh, I know, the one
who sailed around the world.

Yeah.

PAUL: Yes, I know who you mean.
KAT: Yeah.

NORA: Because I had all my hair
cut really short, is it?

So I had like no, I had like really,
really short hair as a kid.

So I looked a lot of my life,
I've like appeared as a boy.

And, um, yeah, I got cast as her
in a school play, and I don't know why.

I feel like it was a talent competition.

Ozzy Osbourne was in it
because we're in Birmingham.

Um, and yeah, I was
Ellen— what was her last name?

KAT: I, I couldn't tell you, but I could—

PAUL: yeah, it's interesting.

It's a, it's an eclectic range of things.

I, I don't want to in any way
dwell on the Jimmy Saville thing, but,

you know, to go from
Jimmy Saville to the woman who sailed

around the world on a yacht,
it's quite eclectic range there.

Um, you all— let's move fast forward.

You all arrive at Exeter, and you're all—
are you all studying the same course?

ALL: Yeah, yeah, yeah.

PAUL: Which is performing arts?

KAT: Yeah, we were studying drama
at Exeter University, and I think because

in the, the course, which actually is,
um,

under threat at the minute because
the university has cut about 182 jobs and

also like cutting so much
from the drama department.

So at the minute there's loads of like,
um,

coming forward to really like shout about
how like the humanities and the social

sciences at the university has really been
like upholding their reputation and sort

of like their status as
a Russell Group university as well.

And they're just slashing loads and loads
of jobs and it's eliminating their ability

to now like run potentially
like the BA and MA courses.

So,
and yeah, it's, it's,

it was an amazing— when we studied there,
and also quite a lot of like companies

have come out of Exeter, it's like,
and Forced Entertainment, Punchdrunk.

PAUL: Yeah, of course, there's a rich history
of theatre makers coming

from there, isn't there?
No, for sure.

KAT: And it was, and it was an amazing course.

And I think one of the things
that really solidified us when we started

like making work is the modules
that we did together.

The course in itself is about devised
theatre and working together as like

a making companies, to be honest.

And I think from coming from
school where our, um,

NORA: We were busy playing Jimmy Saville,

KAT: We were busy playing Jimmy,

DORA: and I was doing the plays that my drama
teacher had written herself.

Four hour plays

PAUL: Suddenly, I suppose you had that you were
given the option and the facility

to make your own work.

And that's a big thing.

I remember when I was studying,
most of the course was very

old-fashioned in the mid-1980s.

And Hayley and I, my co-founder,
met our other co-founder.

We didn't know at the time,
John Wright, who was teaching.

And he started saying to us,
you can make it up.

And we were going, what do
you mean we can make it up?

Of course you can't just make it up.

He went, you can, you can make this up,
you don't need to get a script of it.

So was this also a bit of a revelation
for you guys, that you had the ownership

of your ideas and you could
interpret them and create them?

KAT: Yeah, definitely.
And in, in so many different forms.

We really bonded over— we did a live art
module that's— I don't think any of us

really put down as the first thing that we
wanted to do,

but we went and did this live art, um,
module with this amazing lecturer we had

called Natasha Lushetich,
who to be honest is the biggest

enigma I've ever met in my life.

I don't know where she's from,
how old she is, where she is now.

She kind of just came and disappeared.

And she always had like a little— she
always used to come and she had a,

a t-shirt with a British Bulldog,
and then we'd do like

half an hour of yoga with her,
and then she'd get us all

to do all these weird things.

NORA: Yeah, everyone - people were sick.

It was like, yeah, blood.

Yeah, drinking, it's alcohol,
it's very like getting in bags

and kicking each other, just like

PAUL: very, very, a very formative time really.

DORA: I think probably the last, uh,
generation of people that are allowed

to do that sort of thing in it.

PAUL: Yes, you probably are.

Um, uh, if I could take you back slightly,
uh, in your Exeter journey,

because I remember when I first arrived
at Middlesex Poly in 1986 and I,

I saw Hayley, waiting in the lobby where
we— and I was— I'd never really been out

of Birmingham before, so I saw Hayley
and I just thought she looked

really sophisticated, you know.

She had this kind of hairband thing
on and,

and her hair was like bleach blonde
and short, and I thought, well,

she looks really— and then I heard her
saying that she'd been an au pair

in France, and I was like, blimey,
this is— so I just wonder if you could

share your first, uh,
remembrances of meeting or encountering

each other, of what your thoughts
were about uh, between you?

Uh, anyone can start.

NORA: Just really intense
straight away, I think.

DORA: Yeah, me and Nora lived in flats opposite
each other,

and we met on like the first night,
and like by the second night

we had like moved into each other's rooms.

NORA: We were like, we lived in my room,
and then we used Dora's room as a bin.

DORA: It was very intense, very fast.
We were like, what?

Like, I think because you go to university
and you're so like,

I, I need to meet my people,
it just creates this like

real intensity really quickly.

So we had like such an intense
relationship.

I know me and Nora were like best buds.

We'd do everything together,
we'd hang out together.

And I really remember one day seeing Kat
outside the drama block smoking a fag.

And just, I was like, who, who is this?

And Kat was always like,
you didn't give a fuck, and you were,

you were just always wearing
your pyjamas everywhere.

Yeah, and tracks and just tracky bottoms.

Everyone else would go to the club
on a night out and like get all dolled up,

and Kat would just turn up in tracky
bottoms and like unwashed hair,

and we were just like, I
don't know, I like you.

PAUL: Well, I see it's interesting having had
the— so far, the chat so far,

I definitely see that carefree attitude.

It's the same person who chose
to sing Old MacDonald.

Uh, and I can see the not caring.

I'm not singing Britney Spears, so the,
the, the— I can see that,

that journey for sure.

Um, so you obviously connect,
you're making work at a university.

What was the decision
to try and give it a go?

Were you encouraged by a tutor,
or did the three of you just go,

you know what, we're going to make a show
now and take it to Edinburgh, or whatever?

What was that?

What was the step from doing
it at university to doing it?

NORA: We'd been doing stuff at uni together
that was kind of like funny

and more like sort of comedy.
We'd like—

DORA: we actually started as
a sketch comedy troupe.

NORA: Yeah, you could say, you could say,
just doing ITV parodies.

KAT: Yeah.

NORA: And then like post-graduation,
I did a year abroad,

so I actually did an extra year.

And then, okay, final year,
you guys moved to Bristol.

So we sort of started the company in like
my fourth year, you just graduated,

and you guys were in Bristol,
I was still in Exeter.

And yeah,
you started making Twinkle Toes,

which was like our first kind of show,
but it started as an installation,

installation.

Um,
and from there we kind of knew we wanted

to make stuff together, but
we got recommended— the uni had this like

graduate scheme at the
Bike Shed Theatre in Exeter.

Yeah, we're like, oh, we could
go back to Exeter,

have access to like make another show,
um, and live somewhere we know

we have like rehearsal space.

Um,
and so we've all moved back opposite

the theatre and were there
kind of for like 5, 6 years.

Um, really cheap rent.

We were in like this massive
like mediaeval house.

And we made, yeah, we made shows

DORA: and we worked on the bar at the Bike Shed.

We were so like in,

NORA: in it and kind of immersed ourselves.

Yeah, in sort of the Fringe.

There was a good kind of circuit of Fringe
companies, ensemble,

devised theatre coming through that,
through the Bike Shed.

And we were there every day.

It's kind of like
we've inserted ourselves as a company.

We don't have a show on yet,
but you'll see us.

We'll see you next year.

PAUL: But it is interesting, isn't it?

I was talking to companies
of any generation.

There's often— when I speak to— I was
talking to someone from Breech Theatre

the other day, and they were talking about
their support they had

early on at the Diorama.

And, and it feels like— and we had it.

We couldn't have done anything without Tom
Morris at BAC when we were starting out.

So, and you guys with the Bike Shed,
there's, there's usually some building

and some people that go, all right,
we'll give you 'Yeah, some support,

we'll take a chance.' And I think it's so
important to kind of, you know,

I don't like this term,
I sound like Alan Partridge,

but to give those people a shout out who,
who help people get

going is really crucial.

NORA: And we did, we were supported really
a lot by New Diorama as well.

They— yeah, yeah, venues like that where
it was ensemble and there was an audience

for it of like kind of, yeah, scratchy
like early stage work, like playful stuff,

you could kind of try stuff.
Yeah, try stuff.

PAUL: Exactly.
Try things out.

Yeah, exactly.
That's the key.

I mean, it's interesting.
I love your website.

And one of the things I love about it is
in talking to you,

your website is like you.

And sometimes that doesn't happen.

You know, you see someone's website and
think, oh, that doesn't really reflect.

But chatting to you for 25 minutes,
you look exactly and sound exactly

like your website, which is brilliant.

One thing I like about your website is
you're very,

you're very happy to embrace
the opinions of people who are less keen

on your work or have responded in maybe
a slightly less positive way.

And I think that obviously is
a very confident place to be.

And I think one of the most entertaining
weeks we had as a company was when

we were hooking up with Improbable
about maybe doing something together.

And we spent one day sharing the worst
things people had said about ourselves.

And, and I find that liberating.

I'm not going to dwell
on something that is negative.

I'm going to share something
that is more positive.

On that note, I think this is Lynn Gardner
wrote about you guys; "they create

a terrifying electric sense
that anything could happen".

And I suppose my question is, clearly,
that doesn't happen by chance.

It happens because of your personalities.

It happens because of your passion,
all of those things.

But at the heart of that, presumably,
is a certain kind of spontaneity.

A certain sense that we're
not locking everything down.

So I suppose my question is around
spontaneity and how important that is.

And how do— or even,
do you even think this—

how do you ensure that that spontaneity
continues and remains at the heart

of what you do, if it does?

NORA: I think probably like a little bit
like we, like, we trust each other.

So there's like a,
like continuing to always be on the same

page of what we're about to do.

Like there's a lot of like hardline,
like chatting of like,

I trust you to just go off on one,
but this is, this is, this is what

we're going to be trying to get at.

So I think that really helps.

I think if you don't know the people
you're, you're working with,

you can't be risky,
you can't be like that kind of like, uh,

and always wanting,
and we're so into like liveness,

and we are like pure,
like we love theatre, we love live,

the potential, and like
in everything we make

is remembering that it's like it's
imagined until the audience get there.

So that's already a risk.

So that just always wanting to push
and be a bit scary and do, and,

and like do all that thing of like don't
don't, what's it, ask permission,

apologise after.
KAT: That's it.

NORA: See, I don't even know it.

Yeah, I think.

PAUL: No, that's a very eloquent
answer to that question.

And I think it's interesting, isn't it?

Because when you find a very
dynamic and deep connection like the three

of you have,
I remember a really good piece of advice

that John gave Hayley and me, because
he was obviously older, he was a teacher,

and we formed the company later,
so we had a dynamic within our group

that was different to free—
like you, free meeting.

But he, he said so,
which stayed with us for always, really,

was he said,
there you have something when you get

up and you improvise, the two of you.

There's definitely something we
can feel it, and we could feel it.

He said, do not analyse it, do not
discuss it, do not— just be, just do it.

Because the temptation, I think, when we
were younger was try and figure that out.

So you don't need to figure it out,
that, that takes care of itself.

Just keep getting up,
keep doing it, and don't analyse it.

Um, I just wonder what your thoughts were
about how you self-reflect on what you're

doing and to what extent you just do it.

KAT: Yeah, I think there is like—
we do have a certain— as people have like

remarked about us when we're on stage,
we do have a certain chemistry together.

And I think it is from that trust that we
all have in each other and also from the

It's a thing of,
I love watching you guys perform as well,

and there's like some things
in my head where I'm like, oh, okay,

you're doing this, and I can
definitely like riff off this.

And it's a very natural thing.

I think it's because we do know each
other so well, regardless of like work.

We're really— we're all
exceptionally close.

We're family.

So it feels— it just feels very
natural whenever we're on stage.

And also, I guess there's always a thing
of We all know that we,

we're so— whenever we make work, we'll be
making it over such a long period of time.

We've talked about,
we've talked about it to death.

We know exactly the idea that we want
to get at,

and we all trust each other so much to be
really like, okay,

when we're on stage,
we're just— we all know the idea

that we're going to be like getting at.

So it doesn't matter,
put anything to the cast caution

to the wind because we will
just like go full on into it.

And if we know, if it requires at this
moment that I need to punch you

in the face, it'll be okay and we'll
do it because we need to do it.

ALL: Yeah.

KAT: And we're, and we're,
and that's the thing,

like we're completely complicit all
together on stage and it's such a big

trust that we have
and we know that like we're gonna like

hold each other, that it's just,
I think that's the sort of like thing.

DORA: We're willing to push ourselves,
yeah, like the very extremes.

And to bring it back to Natasha Lushetich,
our icon,

she was the person who imparted in us
in that live art module,

if you think you've gone far,
you've never gone far enough.

And like, that's always
in our work, I think.

And we trust each other to do that.

We're like, let's push it somewhere.

PAUL: I think, uh,
it sounds like what I think is one

of the quotes on the recent Scary Movie
franchise poster which said,

I said, we will leave no line uncrossed,
which, uh, which in a way I feel

is a scary movie.

It's also applicable
to In Bed with My Brother.

Now, if, as we get towards this end
of a really lovely conversation,

I would like to just have this more,
and we will because I'll come

and see your new show at the Yard.
We all will.

I'm really looking forward to that.

Um, really, um,
If, if the most— I'm not saying this is,

I'm just saying if the most shocking thing
for In Bed with My Brother to do

was to do a play, a play that existed,
let's say that's the most shocking

thing it is, what play would you do?

KAT: Probably a John Godber.

PAUL: John Godber, interesting.
Any particular one?

KAT: Probably Bouncers.

PAUL: Bouncers, I can see it.

I think they've done a version
where they've changed the gender.

So that probably exists as a script.

I'd like to see that.
Nora?

NORA: I think it would be pretty shocking
for us to do a Shakespeare.

PAUL: Shakespeare?
Any particular one?

NORA: Hmm, some— one of the trad— like
something like King Lear or Macbeth.

I think like, oh, I don't know.

PAUL: I'd like to see you play the three
sisters— and not three sisters, yeah,

the three daughters of King Lear.

That would interest me.

And a version— I love that play.

We've done a sort of version
of that in a show called My Perfect Mind.

Uh, Dora?

DORA: Um, I, I don't know.

I actually don't know any plays.

So I was thinking that I was like,
I could just bullshit something right now,

and I'm like, I don't mind.

PAUL: That's perfect.

So you're happy to be cast in either
Bouncers by John Godber or King Lear?

Yeah, you don't mind?
DORA: Send me the script, I'll learn the lines.

I'll turn up on the first
day of rehearsals.

PAUL: So guys, it has been
really lovely chatting.

I always finish the episode where I ask 7
rapid-fire questions, and it's, uh,

just your— the first answer that comes
into your collective heads, really.

So number 1: tinned pineapple
chunks or tinned peaches?

KAT: Peaches.
NORA: Peaches.

DORA: Yeah, I would agree with that.
PAUL: Excellent.

If In Bed with My Brother had to pretend
to be specialists in something,

think with no preparation,
would you choose either horse

racing or cheese making?
ALL: Cheese making.

PAUL: Okay, that's very quick.

Again, a paella or a risotto?
NORA & DORA: Risotto

KAT: Paella

NORA: Oh, I hate paella.

DORA: I really, yeah, I can't get—

PAUL: ah, okay, controversial.

Dirty Dancing or Footloose?
KAT: Footloose.

DORA: Footloose.

Yeah, I don't think—
KAT: I've never even seen them.

NORA: I've only seen Dirty Dancing,
that's why I answered Footloose.

PAUL: Well, that's a perfect answer.

Um, Footloose.

Footloose is the one where they've banned
dancing or something

in the town, isn't it?
Oh, is that Footloose?

DORA: That's a good concept.
PAUL: Yeah.

Yes, that's quite good.
Uh, Stick or Twist?

ALL: Twist.

PAUL: Shame or Disgrace?
ALL: Disgrace.

NORA: Disgrace, 100%.

PAUL: And finally,
if you were forced to change the name

of your company, Brilliant as it is,
and particularly now we have

the origin story, which is even better.

But if they said, you cannot, you know,
you cannot use this anymore and you had

to choose from the following names,
which would it be?

In Prison with My Mother,
On the Run with My Lover,

or— excuse my Scottish accent, you have
to say this in a Scots accent—Nay Bother.

KAT: I say In Prison with My Mother.

PAUL: Yeah, In Prison with
My Mother is quite good.

You can have that for
an alternative for you.

Do we want to do it for one show?
You could change your name.

In Prison with My Mother.

Uh, guys, thank you so much.

It's been a real laugh and I've really
enjoyed, and also really enjoyed hearing,

as I know the listeners will, about
your work and how you make work.

And it's really refreshing and important
that companies like you

go and keep doing things.

Good luck with the show,
and when we all come to see it,

we can maybe have a drink
at the Yard or something.

ALL: Yeah, thanks, guys.
PAUL: Have a good day.

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