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When you're growing up, it's very easy to feel lonely and insecure.
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One of my favorite things to read in the 'Observer' is the restaurant review by Jay Rayner. I love reading about these restaurants that I won't ever have the time to go to.
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The whole notion of never growing up is incredibly intense and emotional.
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'Once' constantly surprises me. I think it's the power of the music and the storytelling that people connect with.
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I studied theatre at Glasgow University and then was lucky enough to land a scholarship with a theatre group in Edinburgh.
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It couldn't interest me less, the idea of putting a living room on stage. I just think, what's the point of walking into a theater to see a living room? A sofa in a forest? Now you're talking.
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Even with the success of 'Once,' I can't think about making theater straight for Broadway. Too nerve-racking.
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Usually, in theatre, you're adapting existing material or creating an entirely new play. With the 'Cursed Child,' we have been given the unique opportunity to explore some of the most cherished books and beloved characters ever written, yet work with J. K. Rowling to tell a story from that world that no one yet knows - it's exhilarating.
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'Thou shalt not bore' is a commandment that should be at the centre of our ambitions.
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The physicality of a production needs evolution and breath.
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I suppose what I aspire to do is to make it easy for the audience to connect with a story.
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I do like horror films, but I wouldn't ever be interested in putting a horror on stage - blood doesn't equal horror.
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I worked on new plays at the Traverse and did my best work in Scotland for years, so I never had ambitions for things like Disney.