Podcast Summary: The Late Show Pod Show with Stephen Colbert
Guest: Lesley Manville
Date: December 29, 2025

Episode Overview

In this episode, Stephen Colbert welcomes celebrated British actress Lesley Manville. Known for her roles in "Phantom Thread," "Mrs. Harris Goes to Paris," and "The Crown," Manville joins Colbert fresh off her Broadway debut in the modernized production of "Oedipus" at Studio 54. The conversation delves into Manville's storied career on both stage and screen, the enduring power of classical theater, and some behind-the-scenes antics with fellow legendary British actors.

Key Discussion Points & Insights

Mrs. Harris Goes to Paris and Uplifting Audiences

• Stephen opens with praise for the film "Mrs. Harris Goes to Paris," calling it uplifting, especially in a post-COVID world:
  • Stephen Colbert (01:32): "I just love Mrs. Harris goes to Paris."
  • Lesley Manville (01:38): "It's so wonderful. It's the perfect film to come out just after Covid... it just made everyone feel better and uplifted."

Broadway Debut in "Oedipus"

• Colbert expresses surprise that, given Manville’s theatrical pedigree, she’s only now making her Broadway debut.

  • Lesley Manville (01:59): "Well, hang on, hang on. You may say Oedipus, but we say [pronounced differently]."
  • They share a playful exchange about the pronunciation ("Oedipus" vs. "Edipus"), culminating in a "tomato-tomato" joke.

• On audience reactions to the famous twist in Oedipus:

  • Colbert (02:12): (Joking about spoiling the play’s 2,500-year-old twist.)
  • Manville (02:36): “You'd think, wouldn't you, that everyone knew how it ended and what the revelation was. But the other night... at the reveal, [an audience member] just said, 'Oh, my God, it's his mother.'”

• Timeless Relevance:

  • Manville reflects on the play's continued resonance, especially its themes of political transitions and generational trauma:
    • Lesley Manville (03:17): “It’s set now on the eve of an election... that will be Oedipus. So there’s all of that political relevance going on. And... [Jocasta] was made pregnant by her first husband when she was 13 against her wishes... that kind of abuse was happening two and a half thousand years ago, and it's still happening. You know, that's how little things have moved.”

Comparing London and New York Audiences

• On Broadway Audiences:

  • Lesley Manville (04:23): "They're very keen on giving you a nice round of applause just for turning up before they've even seen you act."
  • Colbert (04:50): "Like when you walk on stage, it's like Kramer walking on in Seinfeld."
  • In contrast, London audiences make actors “earn it.”

• Cellphone Etiquette:

  • Manville (05:00): On Americans taking photos at curtain call: “Come on, just be. Let's... can something live in our souls?”

Early Career Reflections

• Starting Young:

  • Colbert references a photo of Manville at 16 on "Emmerdale Farm" and asks what she’d tell her younger self:

    • Lesley Manville (05:47): “Oh, don't marry an actor.”
    • Colbert (05:50): "I'll buy that."

  • On Consistency in Her Character:

    • Manville (06:02): “Apparently I was quite bossy even with... seasoned actors I was working with... I suppose I'm still a bit like that. Although I've learned when to keep my mouth shut.”

Backstage Fun with Legendary Actors

• On Working with British Icons:

  • Colbert asks about backstage "troublemakers" among stage legends.

    • Lesley Manville (06:43): "Judi Dench."

  • On Judi Dench's Pranks:

    • Manville recounts a hilarious story from a Chekhov play:

      • Manville (07:00): "She... loves a prank... I just had a baby and she was in the wings doing something very rude... She was pretending that she was being taken from behind... I wet myself because I was laughing. She made me laugh so much."

    • Colbert (08:05): "Wow. And a not particularly funny part of the play, I'm imagining, of course, it's this Chekhov. It's not funny at all."

    • Manville describes the difficult moment of trying to keep composure on stage while the audience—if they knew—would likely erupt in applause instead of confusion.

Memorable Quotes & Moments

• Surprise at Oedipus Twist:
  • Manville (02:36): “Oh, my God, it's his mother.” (On an audience member’s shocked reaction.)
• On the Timelessness of Abuse:
  • Manville (03:17): “That's how little things have moved.”
• Backstage Prank:
  • Manville (07:00): “She was pretending that she was being taken from behind... I wet myself because I was laughing.”

Notable Quotes with Timestamps

• On audience naivety:
  • Lesley Manville (02:36): “Oh, my God, it's his mother.”
• On the modern relevance of Oedipus:
  • Lesley Manville (03:17): "That kind of abuse was happening two and a half thousand years ago, and it's still happening."
• On Broadway vs. London audiences:
  • Lesley Manville (04:23): “They're very keen on giving you a nice round of applause just for turning up before they've even seen you act.”
• Advice to her younger self:
  • Lesley Manville (05:47): "Oh, don't marry an actor."
• Judi Dench’s backstage humor:
  • Lesley Manville (07:00): "She... loves a prank... I wet myself because I was laughing."

Important Segments by Timestamp

• 01:32 — 01:48: Uplifting power of "Mrs. Harris Goes to Paris"
• 02:12 — 03:17: Modern adaptation and relevance of "Oedipus"
• 04:23 — 05:21: Contrasts between London and Broadway audiences
• 05:34 — 06:29: Early career and advice to her younger self
• 06:43 — 08:05: Behind-the-scenes with Judi Dench and legendary actors

Tone & Style

The conversation is lively, witty, and marked by warmth and a playful rapport between Colbert and Manville. The actress's candid humor and reflections are met with Colbert’s signature blend of charm and self-deprecation, making for an entertaining and insightful listen.

Conclusion:
Lesley Manville’s visit to The Late Show offers a delightful exploration of her career, the timeless relevance of classic theater, and the fun, sometimes anarchic spirit of life backstage with acting legends. Both actors and theater lovers will relish her candid stories, and her reflections serve as both a tribute to enduring art and a gentle, humorous commentary on the world of performance today.