I've heard from quite a few people, you sense that there is an ownership of the [ Cinderella], it was so personal for so many people, so I was interested in trying to work out why that was.

The long version of the play is actually an easier version to follow. In all of the cut versions the intense speeches are cut too close together for the audience and the actors.

In the hands of a great poet, words have ways of affecting us in ways we don't understand.

Frankenstein feels like an ancient tale, the kind of traditional story that appears in many other forms. It appeals to something very primal, but it's also about profound things, the very nature of life and death and birth - about, essentially, a man who is resisting the most irresistible fact of all, that we will be shuffling off this mortal coil.

Sometimes it comes out in what I call tricksy behavior. That's not always easy to deal with, but it's fascinating. The key thing is to make sure that somebody's tricks don't trip up somebody else.

It's very strange that the people you love are often the people you're most cruel to.

Music and language are a vital element. We, as actors and directors, offer it to people who want to experience it. Sometimes the actual meaning is less important than the words themselves.