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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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'Philistines' was so beautiful, and it bored me to death. I never want to see another production where the rain splashes against a window and actors wander around in drab cardigans saying, 'I'm so bored.'
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You can only really get to any truth by telling peoples' stories.
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I looked into putting 'Doctor' on my license. But the insurance premium is higher, so I don't think I'll bother.
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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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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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'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.