sitcom

BBC sitcom Daddy Issues will come to an end after the third series has aired but not before a star-studded lineup of guest stars has joined the cast for its final outing

Daddy Issues will come to an end after the third and final series has aired, the broadcaster has confirmed. The BBC Three sitcom stars Aimee Lou Wood as Gemma and David Morrissey as Malcolm, following a pregnant party girl who moves into a flat share with her recently-divorced father.

The first series aired in August 2024, and a follow-up series was broadcast in August the following years but now the third run of episodes, which is currently being filmed in Stockport, will be its last.

But the programme, which is Danielle Ward and co-written with David Reed has confirmed a string of guest stars for its final outing. Men Behaving Badly star Neil Morrissey will be amongst those joining the cast, taking on the role of as Malcolm’s new friend Ellis.

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Shobna Gulati, best known as Sunita Alahan in Coronation Street and Anita in dinnerladies, will play new neighbour Odette whilst former Peep Show star Sophie Winkleman will play campsite owner Mary.

Sarah Hadland, best known for her role as Stevie Sutton in Miranda and for her Strictly Come Dancing stint, will be back as Rita, joining fellow returning cast members David Fynn as Derek, Taj Atwal as Cherry and Celebrity Traitors star Sharon Rooney as Catherine.

The new run of six episodes will focus on Gemma’s newfound set of calamities as she tries to settle into her new promotion at the salon whilst daughter Sadie thrives at nursery. Chaos ensues when the flat she still shares with her dad floods, and a new romance leaves her stuck in a web of lies.

Over the last few years, actress Aimee, who the BAFTA Television Award for Best Female Comedy Performance after making her screen debut in Netflix hit Sex Education, has enjoyed global success with US comedy drama The White Lotus.

Through her role as Chelsea, she earned Emmy and Golden Globe nominations. Aimee has also hosted an episode of Saturday Night Live UK, starred as Sally Bowles in the West End production of Cabaret and is due to appear in a string of Hollywood films including The Beatles, Anxious People, and The Idiots.

Speaking about the series coming back, Aimee shared nothing but excitement as she expressed her joy at being part of the comedy series.

She said: “I’m so happy to be back with David and the brilliant Daddy Issues cast for one final time. Gemma and Malcolm are one of the funniest and sweetest comedy double acts on TV, and I’ve loved being a part of it.”

Meanwhile, David Morrissey added: “I love doing Daddy Issues so much, such a great cast and crew! So I’m delighted to be coming back to have more adventures with Gemma, Malcolm and the gang!”

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The shadow of Bill Cosby hangs over the “The Peterson Show,” a new play by Janine Nabers about the fallout of a disgraced TV dad on the grown-up cast members who played his children on the show.

Echo Theater Company, which is presenting the world premiere of this play in a production directed by Michelle Bossy, has reconfigured its Atwater Village Theatre space for the occasion. The refresh — in terms of the position of the stage and the audience and in the level of the design elements, including video monitors showing clips of Black sitcoms — promises a vital evening of theater.

Unfortunately, the production is hamstrung by fundamental problems in the writing, directing and acting, all pointing to a failure of control. Control of the story, control of the tone and control of the cast.

In my fall preview item for this show, I wrote that the “production is all but guaranteed to be more enlivening than an evening spent surfing Netflix.” Well, it’s certainly lively, but in a boisterous way that made me regret I had left my couch.

Not even Netflix would give “The Peterson Show” the greenlight. The story centers on the adult lives of the sitcom’s five child stars who are thrust once again into the spotlight after a reunion rumor goes viral and their TV mom, Valerie, kills herself.

Deanna Reed-Foster, left, and Tamberla Perry in “The Peterson Show” at the Echo Theater Company.

(Cooper Bates)

Ronika (Tamerla Perry), the troublemaker of the group, careens through life with faulty brakes. Zoe (Kristen Ariza), who has traded TV stardom for an academic career and motherhood, wants the normalcy that her former fame keeps threatening.

Dwight (Devere Rogers) is messy and loud as well as addicted to fame and other substances. Blair (Kelly McCreary), who pulled herself out of a miserable childhood, has made a successful career as an award-winning actor and isn’t going to let her flimsy talent or her TV siblings stand in her way. Elliot (John Clarence Stewart), who seems the best adjusted of this crew, left the business to become a lawyer and hasn’t looked back.

Haywood Peterson, the patriarch of the TV show who’s serving jail time for rape, doesn’t appear in “The Peterson Show.” But his voice tyrannically resounds with sadistic orders and conservative cultural commentary during the second-act flashback scene, in which a fateful day on the set of the show changes the lives of Ronika and Blair.

The unsettled first act, full of false starts, feels like an early draft of the play. Nabers, an Emmy-nominated TV writer and author of the play “Serial Black Face” (winner of the Yale Drama Series Prize), can’t figure out how to center the work.

Ronika is the protagonist, but her introduction is off-putting — not only to Zoe, whose home she has invaded, but to the audience, who isn’t given much reason to care about this abrasive, screechy and just-plain-annoying personality.

The cast members perform at a fever pitch of amateur sitcom acting. Ronika evolves as the scene shifts to Blair’s home (which confusingly has the same layout as Zoe’s house in Michael Kramer’s eye-catching scenic design) for the home funeral of their TV mom. But more thought is spent in reworking Ronika’s hairstyle and outfit than in developing her story.

Kristen Ariza, left, Devere Rogers, Kelly McCreary, John Clarence Stewart and Tamberla Perry in “The Peterson Show” at the Echo Theater Company.

(Cooper Bates)

Ronika’s resentment toward Blair, who has avoided condemning Haywood in public, seethes monotonously until her own backstory is finally unearthed. Ronika’s trauma plot, however, has to compete with Valerie’s related breakdown story, and neither is given its dramatic due.

In the meantime, there’s a lot of unwieldy comic commotion involving a missing corpse, a tweaking, naked Dwight and enough insipid TV sibling bickering to clog the airwaves for a decade.

“The Peterson Show” is exhausting. The play isn’t ready for prime time. Bossy’s direction raises the clamorous volume instead of sorting out the disordered structure or digging into the unexamined silences.

The actors are led completely astray. Echo has built its reputation on quirky plays idiosyncratically performed. The theatrical marching orders here seem to involve throwing spaghetti against the wall and laughing uproariously as it slides to the floor.