The play has to work for the super fans, and not speak down to them, and yet it had to play to those people who maybe had never read a Harry Potter book or seen the films.

Each audience seems to have a life of its own, which is why watching the show regularly is so exciting, because it's always a different experience.

I have, over the years brought an enormous number of plays to television starting obviously with Nicholas Nickelby and then things like Angels In America or in Wit with Emma Thompson and Mike Nichols. So, yes, I do find that very interesting and I'm sure that down the road there will be plays that I'll want to do that way.

I live in New York, so I'm used to the audiences that cheer and clap through a play. It is unusual for London audiences.

If the play works in an emotional and engaging way purely from what's on the page, then what's on the stage will be the icing on the cake. If the play didn't work as a play on its own terms, none of the magic, none of the special effects or theatricality of it all, would add up to anything.

I think that's so particularly exciting about this moment in time is all the new platforms that are now existing, the Netflixes and the Hulus and Amazons and so and so forth; I mean they are really doing what pay TV was doing twenty years ago. So a show like Dancing On The Edge gets to have a digital life after it's playing on Starz. I think what's exciting is how these new platforms are providing more opportunities both for first-run programming on the one hand but also for second plays for shows that have appeared first either on traditional broadcast or on cable.

I think people want the intimacy in the engagement of sitting in a theater with people and seeing something happen live and engage in that. I think that could be a very powerful experience.