I like roles that are on the extreme ends of the spectrum, and there's special appeal in exploring these slightly forgotten plays that people might think of as subjects for academic term papers instead of live theater.

What I appreciated was the fact that the script delved into how Australians were - and still are - condescended to by the English.

Nobody ever said that growing old would be easy. Just having to hold the newspaper out in your forties and then hair growing out of unusual parts of your body in your fifties. It's tough on the ego.

People are intrigued and fascinated, almost obsessed with the private lives of great public personalities.

That's one of those questions where somebody says "would you like to see more women behind the camera?" And then it becomes I must have interrupted the interview to make a platform stance. But, no, I do believe it. In Australia, per capita, we've got a slightly more balanced and healthier statistic than here. I've only just started working more regularly with female ADs and its just a beautiful, different energy on set.

For sure, you have to be lost to find a place that can’t be found.

Like any classic you hope to get rid of all the varnish that's built up over the centuries where people expect it to be in a certain way. It's a mighty play. It's about a very old king who also happens to be a very old father, so you've got the state and the domestic levels in there together. It's a story in extremis. Everyone knows the end, there's only two people left alive.