The theater is a communal experience, and whatever the emotional connection between an audience member and the actors onstage, it ripples through the whole audience. Part of the fun of the play is being a part of that audience.

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.

The White Queen in many ways it is representative of the sort of drama that I'm talking about. The books by Philippa Gregory were best sellers and they specifically told the story of history from the point of view of women.

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.

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.

My principal focus is finding great dramas.

I think where Playground is heading is deeper into that marriage between stage, film and television, with the increasing number of people in the film business working in television, obviously something that we were very influential in starting and doing at HBO. And I think that that's the focus of where I see the company moving forward, continuing to explore that intersection of all that talent.