I'm a sucker for emotionally exploitative cello.
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.
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.
'Thou shalt not bore' is a commandment that should be at the centre of our ambitions.
I realise that there's something about fantasy, whether it's written by the Grimm Brothers or J. K. Rowling or Thorne or J. M. Barrie, that it gets closer to the human experience than realism every could.
In theatre, previews are the first draft of a show. I strongly believe that. The only way we can truly tell whether that draft works is by having an audience present.