Remembers… - 2026

Beloved entertainer Christopher Biggins takes a nostalgic look back at his time on the classic BBC comedy Rentaghost. Sharing fond memories of the show’s quirky humour and unforgettable characters, Biggins reflects on how the series became a cult favourite and why it still holds a special place in British television history. His anecdotes promise a delightful trip down memory lane for fans of the iconic supernatural sitcom.

Mike Leigh, icon of British TV and film, looks back on one of his most popular and influential television plays, 1976's classic camping comedy Nuts in May.

With a career spanning seven decades, acclaimed theatre, film and TV director Richard Eyre has been involved in a number of hugely successful Ibsen productions. His adaptation of Ghosts in 2013 won him the Evening Standard Best Director award. He directed John Gabriel Borkman for the National, starring Paul Schofield and Vanessa Redgrave, and a notable Hedda Gabler with Eve Best, again adapted by Richard. Thus, he is perfectly placed to give us an introduction to this complex yet still very relevant playwright. Richard talks about how much contemporary drama owes to Ibsen and about the key characters - Nora in A Doll’s House and Mrs Alving in Ghosts - and how their depictions were drawn from the playwright’s own experience and world view. He also discusses the darkness in Ibsen’s subject matter, how he was often vilified when his plays were first performed. Yet it is this bravery that has kept the plays relevant and a mainstay of the arts world to this day.

A look back at the BBC's acclaimed 1992 adaptation of Henrik Ibsen's A Doll's House that reunites leading cast members Trevor Eve and Juliet Stephenson and director David Thacker.

The recently knighted sitcom writer Roy Clarke looks back on one of his best-loved creations, Open All Hours, and shares his memories of working with two comedy legends.

Michael Palin shares memories of his 1988 screenplay for the drama Number 27 - one of his early post-Python solo ventures and written around the same time as East of Ipswich.

Sir Derek Jacobi looks back on Breaking the Code, the acclaimed 1997 drama that saw him tackling the role of Alan Turing, the mathematical genius who cracked the Enigma code and helped bring World War II to an end. Jacobi discusses the pressures involved in playing and doing justice to such a significant and complex individual as Turing. He also recalls how the project started life as a play that, to his surprise, became a hit in London's West End and on Broadway. And he reflects on how it was important to him as a gay actor that the story of Turing's homosexuality as well his genius was shared with as wide an audience as possible.

Sir Simon Schama looks back on his series A History of Britain, a journey through 5,000 years of life in the British Isles, with each episode centred on a key moment from Britain’s past. Simon has described the presentation of popular history as telling stories - something his ambitious series tackled head-on. Simon tells us of the long debates over what to include, and just as crucially, what was left out. He shares his memories of filming and the search for apt locations, such as an abbey in France where Thomas Becket hid and an abandoned military warehouse in Kent. He explains why he tried, and failed, to get battle reenactors to undress for one shot. And he talks of his inspirations - Kenneth Clark and Alistair Cook - and his drive to make history accessible, wanting audiences to share his passion in the stories the series imparted.

Renowned actress Dame Janet Suzman reflects on her acclaimed 1972 portrayal of Ibsen’s formidable heroine Hedda Gabler. The adaptation was directed by Waris Hussein and also starred Ian McKellen as Hedda's insufferable husband, Tesman, with Jane Asher as childhood friend Thea in a cast that Suzman remembers with great fondness. Reflecting on Hedda’s fascinating complexity, emotional depth and human flaws, Janet describes the actor’s task of stepping fully into a character’s worldview. Suzman reminds us of the power of great writing, and the rare opportunity the Ibsen play offered at the time: a complex, emotionally rich leading part for a woman.

Following the misadventures of a group of flat-sharing friends pursuing careers in law, This Life captured the 1990s zeitgeist like no other BBC drama. Dubbed the antidote to Friends, the show presented a warts-and-all depiction of young life in London, pushing the boundaries when it came to sex, drugs, nudity and swearing on the small screen. The series' beating heart was Anna - feisty, flawed and captured fantastically by Daniela Nardini. Daniela looks back on how she got the role that changed her life, the will-they-won't-they storyline of Anna and Jack Davenport's character, Miles, and the casts' overall experiences on a drama that managed to tap into the Cool Britannia vibe of the day and had an entire generation hooked.

Across the years, the BBC adaptations of plays by Henrik Ibsen have attracted stellar casts - Judi Dench and Kenneth Branagh in Ghosts, Ingrid Bergmann in Hedda Gabler, Trevor Eve and Juliet Stevenson in A Doll’s House. The 1981 production of Little Eyolf was no different, featuring Diana Rigg, Anthony Hopkins, Peggy Ashcroft and, in one of his first major television roles, Charles Dance. Charles tells us why actors are constantly attracted to Ibsen’s writing and how the work was filmed in a way to keep it deliberately theatrical. He talks about the themes of symbolism and hidden secrets in the play, which are common to the author’s other work. He describes what he took from being an up-and-coming actor in the midst of such a talented company. And he explains why the play and the subjects it tackles are as relevant today as ever.

Acclaimed screenwriter Stephen Poliakoff shares his memories of the BBC's 1980 television drama Caught on a Train, his Bafta award-winning collaboration with celebrated producer Kenith Trodd. The drama was based on a real-life encounter Stephen experienced with an angry fellow passenger on a train trip across Europe. It stars the legendary Dame Peggy Ashcroft and Michael Kitchen as strangers who clash at the start of their journey but come to an understanding by the time they reach their destination. Here, Stephen reveals how the production came together, why he was left thinking the drama may herald the end of his career, and which iconic James Bond villainess was almost cast as the leading lady.

Screenwriter Andrew Davies, best known for his adaptations of classic novels, reflects on one of his own original works - A Very Peculiar Practice - a wickedly funny comedy drama series set in a university health centre in the late 1980s. Inspired by his own experiences in formal education, the series drew heavily on the political landscape of the time and features some wonderfully funny turns from actors such as Peter Davison, Barbara Flynn and Graham Crowden. Davies discusses the show’s origins, its cult status and how its dark humour paved the way for his later work.

Ken Loach discusses Up the Junction, his landmark 1965 contribution to the BBC’s The Wednesday Play strand, adapted from Nell Dunn’s celebrated stories of working-class life in Battersea. Blending drama with documentary realism, the production shocked audiences with its frank depiction of sex, illegal abortion and everyday poverty, attracting record complaints while redefining television drama in Britain.

Ken Loach reflects on The Old Oak, his deeply moving portrait of solidarity, displacement and community in a former mining village in County Durham. Set against the arrival of Syrian refugees in a town scarred by austerity and deindustrialisation, the film explores whether compassion and collective action can survive in fractured times.

Few people have followed in Ernest Hemingway's footsteps quite like Michael Palin. In this fascinating interview, the much-loved broadcaster, writer and traveller reflects on his journey through the landscapes, cultures and stories that shaped one of the 20th century's most celebrated authors. From Hemingway's homes and favourite haunts to the adventures that inspired his greatest works, Michael shares the highlights of his travels, revealing what he learned about the man behind the legend.

As part of Pride Month, W Stephen Gilbert looks back on the BBC drama Only Connect that he commissioned and produced in 1979. Today, it is considered a landmark but overlooked piece of television history thanks to its sympathetic portrayal of a homosexual relationship. In this special interview, Gilbert recalls his struggle to bring Only Connect to the screen, the challenges of making an openly gay drama for mainstream television and the impact the piece has had in the decades since its original broadcast.

Midge Ure looks back at the 1986 Prince’s Trust Rock Concert, organised to celebrate the tenth anniversary of the charity. As musical director for the event, he is perfectly placed to discuss a show that included stars such as Tina Turner, Eric Clapton, Phil Collins and Elton John. He describes how the concert was rehearsed, how worried he was about getting songs wrong, his favourite moments and the joyous spontaneity of seeing acts perform that would never been seen together at any other time or place.

Writer Peter Flannery looks back on his experiences creating the acclaimed 1996 drama Our Friends in the North. Following the lives of four friends from Newcastle over a period of three decades, the series struck a chord with the nation’s viewers and turned its young cast into household names. In this introduction to the series, Peter shares the behind-the-scenes story of how the drama was made - an epic tale in its own right - and assesses the impact it had on audiences, the cast and those who helped create what is today considered a landmark piece of television.

It’s been more than 15 years since Gareth and Tim from The Office – aka Mackenzie Crook and Martin Freeman – last laid eyes on each other, but the groundbreaking comedy's 25th anniversary has brought them together once again. They share their memories of working, and laughing, alongside Ricky Gervais, co-writer Stephen Merchant and their other leading office colleague Lucy Davis, who played the object of Tim's affections, Dawn. Amongst the anecdotes are the tale of how Martin initially auditioned to play Gareth, how Mackenzie embraced one of TV's worst-ever haircuts, how Ricky came close to ruining filming on a daily basis, and what it was like to be at the heart of 'Office-mania' when the show was at its peak. On top of all that, we get Mackenzie and Martin's views on the American version of the show and find out some of their personal favourite Wernham Hogg moments.

Monty Don looks back on the remarkable career of TV gardener Geoff Hamilton, who led Gardeners’ World for 16 years, until his untimely death in 1996.

Actor Bill Paterson looks back on one of the earliest roles of his career, in the 1974 boundary-breaking television adaptation of John McGrath's play The Cheviot, the Stag and the Black, Black Oil. It featured outdoor historical re-enactments of the notorious Highland Clearances intercut with scenes from a live performance of the play. Bill's involvement with the production began when he was a young member of left-wing theatre company 7:84 - so named to reflect their claim that seven per cent of the population owned 84 per cent of the UK's wealth. It saw Bill originally playing not one but two roles, as Glasgow property speculator McChuckemup and the oilman known as Texas Bill.

Broadcaster and writer Sally Magnusson takes her seat in the original, imposing Mastermind chair, and shares memories of her father Magnus's time as the host of one of British television's most enduring quiz shows. She tells the story of how the programme originated, how her father got the job of quiz master, and what it was like growing up as a teenager and having the catchphrases 'pass' and 'I've started, so I'll finish' hurled your way on a regular basis. Sally also reveals how it feels to sit and face questions in the famous chair and how it came to be that it now lives in her own living room as, literally, part of the furniture.

It was at a 1975 production of his play The Birthday Party that Harold Pinter first met Lady Antonia Fraser and changed both their lives with the single phrase: 'Must you go?' What followed was a scandal that gripped London's high society and a marriage that lasted 28 years, until Pinter's death in 2008. Here, Lady Antonia explains how that original encounter has always meant that the play holds a special meaning for her, despite its unsettling nature - and she looks back fondly on the BBC's 1987 acclaimed adaptation of The Birthday Party and her husband's performance as the mysteriously menacing Goldberg, alongside a cast that includes Kenneth Cranham, Julie Walters and Dame Joan Plowright.

Describing himself as both ‘tourist and historian,’ bestselling author Simon Sebag Montefiore was perfectly placed to present a series of programmes on iconic cities. Rome was the second in the strand, a city rich in politics, art and religion. Simon tells us how the series came about and of the challenges they faced filming in one of Europe’s busiest places. He discusses how the stories told were chosen, the ones he had to have, the Roman Empire, Michaelangelo, Mussolini, and the ones that he could include simply because he felt they needed telling. He describes the thrill of filming in the midst of Rome’s astonishing architecture, of his initial terror descending into the depths of the city’s sewer, and the fascinating secrets it revealed. But most of all, about his joy at telling audiences the stories of a city he so clearly loves.

Maureen Lipman looks back on the filming of Alan Ayckbourn's Absurd Person Singular, recalling the joy of working alongside an exceptional cast at the very top of their game, who treated the comedy as if it was 'life and death'. Set across three Christmas Eves, Ayckbourn's sharply observed black comedy remains as fresh, uncomfortable and every bit as hilarious as it did when this acclaimed BBC production was first broadcast in 1985.

In 1958, A Taste of Honey burst onto the British stage. Written by the teenage Sheila Delaney, it tackled taboos with an ease and a humour that made audiences sit up and take notice. Playing truant to see the film version in 1961, Peter Egan is perfectly placed to discuss this landmark of British theatre. He tells us what it is about the play that made it stand out and how he was cast in the 1984 BBC version - the director remembering Peter's working-class roots despite his constantly being asked to play ‘lords and poets and kings’. He discusses the background to the play, John Osborne opening the door to a new kind of drama with Look Back in Anger, and the huge influence the iconic director Joan Littlewood had on the piece. But mostly, he reminds us why the play remains so powerful and still has such relevance today.

Actor Spencer Banks reflects on his leading role in the 1974 Play for Today Penda's Fen, a remarkable coming-of-age story written by David Rudkin and directed by Alan Clarke. Spencer discusses the challenges of taking on such a leading role and how this story of identity, sexuality and the notion of Englishness has steadily become a cult classic.

Described as 'a long journey backwards to go forwards', Selina Thompson’s one-woman show Salt premiered in 2016. It quickly garnered awards and international success, and in 2021 it was adapted for TV - part drama, part documentary. Selina tells us about the background to the piece and the adaptations needed to create something for television that retained the power of the stage play. She discusses the influences behind the show and the need to engage the audience as part of the ritual. She also relates the consequences of performing something so physically and emotionally draining and the influence it had on the work that followed. And she talks about the continuing power the play still has - its themes and story as relevant now as ever.

Stephen Tompkinson looks back on his role in the BBC's 1994 adaptation of the acclaimed Terence Rattigan play The Deep Blue Sea, directed by pioneer of British film Karel Reisz - best known for Friday Night, Saturday Morning - and also starring Colin Firth, Ian Holm and Penelope Wilton. At the time, Stephen was making a name for himself in the popular comedy Drop the Dead Donkey, but here he explains why he seized the opportunity to join the cast, recalls the challenges involved and describes in particular what it was like to witness in person Penelope Wilton's central performance as Hester, described by critics as one of the decade's greatest acting masterclasses.

'Like carrying three big suitcases across a railway platform': the words of screenwriter Andrew Davies, describing his acclaimed 1994 adaptation of George Eliot's Middlemarch and the challenges he faced in bringing one of English literature's most celebrated 19th-century novels to the small screen. Andrew reflects on how his adaptations have helped bring classic literature to television audiences. He shares how the task involved collaborating with a stellar cast, including Rufus Sewell and Douglas Hodge, whilst also engaging in heated rows and stony silences with the series director.

Described by critics in 2016 as 'a powerhouse', 'jaw-dropping', 'hysterical' and 'the most shocking play on the London stage', David Ireland's Cyprus Avenue won huge international praise when it first opened and gave actor Stephen Rea the role of a lifetime in Eric, an Ulster Protestant who believes his recently born granddaughter is Gerry Adams. Here, writer David Ireland shares the story of how the play was born - from the first bizarre germ of idea that got him started, through to the casting and the challenges that came with his decision to make the leader of Sinn Fein so central to his narrative. David's recollections also include details of his approach to writing, his feelings on the filming of theatrical productions generally and his thoughts on the importance of catharsis and comedy when it comes to modern plays.

British sculptor Henry Moore's daughter Mary looks back on her father's life, work and relationship with television and its audiences. Mary explains how Henry felt that encouraging the public to develop an awareness and appreciation of sculpture was a vital part of his role as Britain's most internationally renowned artist, and how documentaries and TV interviews were key to that mission. She also shares her memories of growing up in the family home in Hertfordshire, a space that is now open to the public as part of the Henry Moore Studios & Gardens, and how being surrounded by great, important and hugely valuable works of art was just part of everyday life for her as a young girl.

It was back in 1994, in the Royal Court's famous Theatre Upstairs, that actor David Bamber first took on the role of Guy in Kevin Elyot's play My Night with Reg. Dealing with the Aids epidemic and its impact on the gay community, but tackling its subject matter with humour and a lightness of touch, the play became a sensation, and earned David a 'Best Actor' Olivier Award. Here David looks back on the original success and legacy of the play, how it made its way to television, and how Elyot's writing made it a joy to perform. He also discusses the challenges of a straight actor playing a gay character and how attitudes to his casting may have changed over time - a line of thought that touches on why he set out on an acting career at all, and why actors choose the careers they do.

Lesley Manville looks back on Caryl Churchill's play Top Girls, a landmark in British theatre. She shares her memories of the original 1982 stage show and the 1991 BBC adaptation.

Dame Janet Suzman shares her memories of making The Singing Detective, the groundbreaking Dennis Potter drama which is widely regarded as a landmark television moment. Praising Potter's remarkable writing, Janet describes the electric feeling on set for the cast, led by Michael Gambon, as they understood they were dealing with something truly special. She describes how each actor fully committed to their roles in order to bring this visionary, multi-layered piece of drama to life.