My career has sort of been characterized by taking advantage of the changes in the marketplace, sometimes by design, sometimes by accident.

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.

At heart, I'm really interested in this marriage of theater, film and television and I think what happened in the UK and obviously is happening here is that there's a convergence of talent kind of moving between the different disciplines and I find that very exciting.

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.

One of the things that's different about London and the English market is that theater and film and television are all based in London. It's not quite the same as in the States where if the playwright here wants a successful TV or film career, they're whisked away by Hollywood.

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.

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.