New York feels like a sublet of Europe. And Europe is a sublet of New York. Put it that way. It's so accessible. When I was in LA, I felt so far away from my home. Home, for the moment, is here until it's not. I like to move around with my work. I feel it's a great way to learn about life, about new cultures, and to learn. We'll see where the wind takes me.

You don't get a chance to sit back and relax because this is the point where we're tweaking things to see what works and what doesn't work; so the level of concentration is very focused. But who wouldn't be happy with this? It's a great opportunity and a really great piece of writing. I'm just really very fortunate.

It's very much an exploration of the human condition and how different people react and respond to their lives. And what they present to the world, in terms of who they are as characters and what is going on behind the mask, in terms of what demons their holding... and how that interacts.

It's like a Master Class in Acting for three hours. I go to work and I learn so much and do so much. I'm privileged. I'm privileged to be on stage with them. That's all I can say. They're extremely generous. There are no egos in the room at all.

I went through the natural process that most actors go through. I brought myself out here, had an audition on a Wednesday; then had a call-back on Thursday, had a call-back on Friday and I had it by Friday afternoon.

It's very much a character-based play. Conor's writing is almost musical and paints pictures at the same time. It's a joy as an actor to be able to say the words. It's very conversational but at the same time, tells a story.

It's a piece that is so interactive, and relies so much on these five men in the room, that I think will appeal to the life experiences every person has, in some small way. Every aspect of the play will in some way touch somebody or they'll know someone that has a likeness... very representative of real life.