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.

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.

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.

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.

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.

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

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.