The notion that the staging of the play Harry Potter should be raw magic and street theater rather than high-tech theater, was essential.

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.

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.

New York is obviously the capital of theater.

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.

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.