Romesh Ranganathan makes a bold stage leap in the West End
Comedian Romesh Ranganathan is stepping onto a new stage—literally—as he joins Sheridan Smith in Alan Ayckbourn’s Woman in Mind at the Duke of York’s Theatre this December. While the move marks his first professional foray onto the live stage, Ranganathan is quick to reassure fans that he’s not about to flood audiences with a constant stream of appearances. In a candid conversation with BBC News, he discusses why he’s selective, how he weighs opportunities, and the very modern caution about overexposure in show business.
Balancing fame and craft in a busy career
At 47, Ranganathan already occupies a familiar corner of British entertainment. His résumé stretches from headlining television appearances—The Weakest Link, A League of Their Own, and TV Baftas—to radio, documentaries, and sitcoms. Yet after years in the public eye, he remains mindful of how quickly public attention can shift. He describes a practical approach to choosing roles: not just chasing projects, but asking whether a part would be enjoyable, whether he believes he could contribute meaningfully, and whether it is something he could deliver well on stage or screen.
What he says about saying no—and saying yes
“I do say no to stuff,” Ranganathan remarks with a wink, underscoring a deliberate career strategy rather than hesitation. He acknowledges that scrutiny often paints him as being “on everything,” but he insists that his choices are guided by personal judgment rather than mere availability. The comedian argues that thoughtful consideration—assessing whether a project is good, whether it’s something he’d want to watch, and whether he can do it justice—truly drives his decisions. “And then, if the answer to those questions is yes, that’s what makes you do it,” he says. He also adds a light, practical note: a performance also needs to be financially viable, joking that there’s “no point in doing it totally for the love of the game.”
Overexposure in a crowded landscape
Ranganathan’s comments tap into a broader industry conversation about overexposure. He notes that some top-tier figures manage a lighter schedule precisely to maintain their appeal. Names like Ant and Dec, Michael McIntyre, and Claudia Winkleman are cited as examples of selective workloads. Yet in a media environment where audiences can tire quickly, the risk remains that even a beloved talent can reach a saturation point. He accepts this as a natural possibility but emphasizes trust in his instincts. “I understand the thing about overexposure, but if that happens, it happens,” he reflects, adding that his gut often tells him whether a project feels right.
From screen to stage: a new kind of challenge
Ranganathan will play the doctor to Sheridan Smith’s Susan in Woman in Mind, a psychological comedy in which a head injury unlocks a blurred line between reality and fantasy. The production, directed by Michael Longhurst, promises a faithful adaptation with a modern staging sensibility. This is a different kind of risk for the comedian, whose acting work has been largely in television—though he has fronted and acted in comedies such as Avoidance and Romantic Getaway.
What the move means for his fans—and for theatre
Ranganathan’s West End debut is framed not as a leap into the unknown but as a measured diversification of his artistic portfolio. He has spent years cultivating a warm rapport with audiences through stand-up and television; now, an on-stage collaboration with a respected stage star like Sheridan Smith could expand that connection in new directions. The production runs from 9 December to 28 February at the Duke of York’s Theatre, with additional dates in Sunderland and Glasgow in March.
Looking ahead
Asked how long he might stay on stage and whether he could imagine balancing theatre with ongoing screen commitments, Ranganathan keeps things pragmatic. He remains open to opportunities that feel right, guided by instinct, and tempered by a clear-eyed view of overexposure. For now, the West End audience can look forward to a performance that blends Ayckbourn’s sharp wit with a fresh, live dynamic from a comedian stepping into theatre for the first full stage arc of his career.
