Everything is important, but there is a weight to these big or expected things and then there is the logistics of them and it's trying to find, while you worry about for instance the ballroom scene, how do you get 500 people to go to the loo in corsets and don't cost you an hour and how do you remember while you're organizing all that to take a breath and say, 'Well the scene is about all of that and it's about Prince hand on the small of Cinderella back as well' and we need time to do that properly as well.

Frankenstein feels like an ancient tale, the kind of traditional story that appears in many other forms. It appeals to something very primal, but it's also about profound things, the very nature of life and death and birth - about, essentially, a man who is resisting the most irresistible fact of all, that we will be shuffling off this mortal coil.

There are some amazing stories from all over this country, where people's work and contribution has been acknowledged. To be part of that is an absolutely fantastic feeling.

The elasticity of Shakespeare is extraordinary.

I come from the theatre, my bones are in the theatre; it’s as natural as breathing to want to be in the theatre

For all the cynicism that the world contains, people are a little more open to those things that maybe are to do with returning you to some kind of simpler, happier state.

Across all Cinderella versions it was clear that the 21st century was not very much in evidence, particularly in the character of Cinderella so it seemed, it felt actually as though it hadn't been done for quite some time, not with the kind of lushness that we could do it with, with an absolute removal of the passivity of Cinderella and finding an amusing way, a lighthearted but significant way of making her proactive and not a girl who's life is about waiting for a bloke.