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.

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.

In this new digital landscape, this sort of international marketplace, it's come full circle, and I wanted to take advantage of my talent relations on both sides of the Atlantic.

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.

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

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.

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.