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.

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.

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.

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.

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.

New York is obviously the capital of theater.

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.