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He adds "I had my luck because Robert Mackintosh decided to drive to Guilford to see Putting it Together. I wouldn't be here now if that hadn't happened. Actually, I'd say it's 60% who you know and 40% what you know."

What makes RBI so different is that Ron has a genuine curiosity about all of his guests. And there's no script; there's no agenda; there are no pre-written questions. Its just honest, real talk with incredibly talented and creative people about what they do, and how they do it. You can't find interviews like this anywhere else.

From Singin' in the Rain and Anything Goes to Hello, Dolly! and Mary Poppins, Olivier Award winner Stephen Mear has done more than any other British choreographer to usher classic musicals into the modern era. But adept as he is at razzle-dazzling 'em, there's more to Mear, as recent excursions like City of Angels at Donmar Warehouse and Die Fledermaus for the Metropolitan Opera prove. His contribution to the lauded Gypsy revival, opening next week at the Savoy Theatre following a triumphant Chichester run, demonstrates the combination of emotional engagement and quick-witted entertainment that makes him such a formidable talent.

Equally comfortable playing romantic leads and action heroes, he has never been quite a force in theatre. This is partly a matter of choice. He has prioritised screen roles over stage opportunities. The last time he acted on stage was in 2009 in a popular West End production of Richard Greenberg's three-hander Three Days of Rain. In the mean time he has been taking a while to shake off the halo of urgent youth. He has tended to play callow characters more sinned against than sinning - the closest he's come to anything like villainy is as Idi Amin's morally compromised medic.

"Gene Wilder sat down with Robert Osborne at 92Y on June 12 for a rare public appearance. He spoke about his disdain for the Willy Wonka remake, working with Richard Pryor and Mel Brooks, Gilda Radner, Young Frankenstein, and more. "

I would say that for this piece I didn't do a lot of image research. I did a little bit, and that's what led to the paintings on the walls [of the set]. Because I was looking at period Russian rooms from the time, but they actually didn't influence the bones of the design from the beginning. I would say it was actually weirdly very intuitive.