It's a group of men - Conor included - everyone is so collaborative and cooperative, kind, considerate, very professional. And they know their craft. They know it very very well. There's no room for messing around. It's not messy at all. When I go in at this level, when I get the opportunity to play and work at this level, it's at the top of the game. I think, in life, we rise to whatever the bar is. I've been fortunate to rise with them.

For me, it's about having a full life wherever I come to set my hat for a while; so I like to be in a place that offers me a base that's rich and full of people. New York certainly has that at the moment.

I don't want to denounce musicals because they certainly have a message they want to communicate. But with straight plays, there is a focus on what's going on between people and relationships. I think so much is happening in the world at the moment, so many changes politically and culturally, writers are writing about that.

Honestly, I'd love to think I was in a position where I had that decision. But last year I worked on a movie in Bulgaria, now I'm in New York or LA. It really sounds jet-setting when you say it, but there's lots of down-time where you wonder what you're doing or you wonder about life.

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.