Opening a play is just tough. The idea that actors are weirdly protected from it is a myth. If you imagine yourself having to spend two and a bit hours cooking bolognaise, remembering a whole major work by David Hare and speaking it at the correct moment between chopping carrots and stirring the onions in front of an audience - the normal human response is 'Please, can I go to the airport?'

I'm not a royal family watcher.

One of my great regrets, and I don't have many, is that I spent too long putting people's status and reputation ahead of their more important qualities. I learned far too late in life that a long list of letters after someone's name is no guarantee of compassion, kindness, humour, all the far more relevant stuff.

You have all these plans to act, and maybe do it rather elegantly, and then they turn the rain machine on.

If you ask any actor "What single thing would make you really, really happy?" Among the top five things they'd say is not having to audition anymore.

It can't be overstated how wonderful it is not to have to audition any more. Any actor will tell you, it's like Christmas.

It's more than usually possible that I won't do a play again. But Skylight is one of the great plays in the English language. I was lucky enough to be a part of it at one point in its life, and it's a timely thing to deliver it again in the modern world.