Theatre within theatre, when characters sees themselves on stage, always raises philosophical questions of choice and free will.

I have adapted the whole book [Candid] into tweets of 140 characters, and these are being sent out daily, at the rate of eight tweets per day .

It's a book that makes me laugh and think - it would be very hard to like someone who didn't enjoy Candide!

There is the question of language. Although the play [Candid] is not written in strict verse form, there is an underlying beat of rhyming couplets, with echoes of Pope and the tradition of eighteenth-century philosophical verse.

Also, everyone thinks they know Candide - you hear people described as 'Panglossian'. So if Candide appears on a poster, it feels familiar.

Translating Candide into tweets has really deepened my appreciation of his writing - it wouldn't work so well with nineteenth-century authors. Every single sentence in Voltaire seems to advance the story, and yet stand alone as a sound-bite.

The title's so upfront. It gives fair warning about the play's content. I'm writing about a kind of disenchantment, an anger, but quite a cool 90's anger, at a time when we're not very good at openly being angry. . . . I don't think I ever thought the title was titillating. I thought it was incredibly catchy. If the play is about the reduction in human relations down to a consumerist rationale, then thematically, the title is entirely linked into the thesis of the play.