I don't like the idea of stepping-stones in art forms: that you do your time at a regional theatre, and then you work in London and go to the West End, and then you do films. I've never felt like following that trajectory.

Trump is like an eater of worlds from an 'Avengers' movie, but there seem to be different rules for him. What are Twitter doing, for example? He's constantly breaking their rules, the sort of stuff other people get thrown off for.

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.

A first preview is not exactly a pleasant experience for directors and actors. You're never as raw as when the audience first comes in.

The Black Watch is one of the most illustrious regiments. They've been at the vanguard of British military operations for 400 years. Something they're very proud of is what they call 'The Golden Thread,' where you can trace a line back from them to the first Black Watch soldiers who were from the Highlands, spoke Gaelic, and wore the kilt.

When I sold my flat in Glasgow, I bought a little cottage on the North Yorkshire coast. Whenever we go up from London to stay there, I'm just like, 'I'm home! I'm home in Bronte-land!'

If you're going to be hosting any event or a performance or having dinner with people after a performance, it is work, but it's also social: food and a glass of wine would be involved often.

I suppose the key for me is about opening up experiences and untold stories to audiences.

'Peter Pan' makes 'Black Watch' and 'The Bacchae' look like a walk in the park.

Pinocchio's really naughty. He's all impulse: 'I want to sleep now. I want to eat that. I want to run off to Pleasure Island.' It's commedia dell'arte meets Grimm's tales.

I'm never going to stop making theatre, but I don't think I'll make it as much, because I don't need to. There are other things I want to do with my life. I want to sit by the sea in Yorkshire and eat Eccles cakes and spend time with my family.

One of the things I realised as I learned to manage a rehearsal room is that the best idea always has to win, and it doesn't matter where the idea comes from.

I hate rules. I hate 'This is the way things are done'. I hate a lack of reinvention. I hate theatre as an archeological exercise. Theatre needs to be urgent.

I was obsessed with theatre and loving the work of Caryl Churchill, Edward Bond, Howard Brenton, and Howard Barker, people doing real formal experimentation. But 'Road' was the first time I'd read a play written in a very true Northern dialect that seemed to have that excitement running through it.

I've never understood why anyone would want to join the army, but that's irrelevant. The fact of the matter is that, as long as we go on voting in governments who are prepared to take troops into an illegal war, that army is a necessity.

I know Australians are no strangers to pubs, but in the U.K., the pub is a real meeting place because the houses can be quite small, so the pub is an extension of the living space.

The only thing I fear is when people say, 'I should go to the theatre more.' I say, 'We should create work that makes you not have a choice.'

When I realised, on 'The Straits,' that physical work in the theatre takes much longer than directing scenes, it was like a eureka moment. If you want to work physically, you have to accommodate it, and it takes a disproportionate amount of time.

I've never felt opera was a party I've been invited to, and maybe I've got a bit of a chip on my shoulder about it.

Whenever I'd seen Greek tragedy done with masks and declamations, it brought me out in a rash.

When I get really down, I remember that we all share 99.99 per cent of our DNA with Beyonce. And suddenly, the world doesn't seem too bleak.

I thought a director was like a pillow who sat under the writer, supporting them and submitting to their vision. It took me a long time to realise that what a writer really wants is a production that matches the play and the writing. It is the only way the play can achieve its full potential.

Even with the success of 'Once,' I can't think about making theater straight for Broadway. Too nerve-racking.

It's very hard to argue with the politics of 'Black Watch,' because it is not an opinion; it is just the true stories of these boys, and any opinions expressed are theirs.

I don't think that just because people will pay a certain amount for a ticket that it's all right to charge it.

'West Side Story' is one of the greatest theatrical experiences I've had.

I looked into putting 'Doctor' on my license. But the insurance premium is higher, so I don't think I'll bother.

'Black Watch' has taken its place in the canon of Scottish theatre, and that's fantastic. It's a very particular kind of theatre. It's about the music, the movement, the whole 'event' of it.

I'm a sucker for emotionally exploitative cello.

Sometimes it should be the job of Broadway to introduce stars as well as cast them.

Austerity has led us to a terrible philosophy where we think we've got to cut back on everything that's 'frippery', like the arts.

The physicality of a production needs evolution and breath.

'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.'

I want to understand the anger in the world.

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.

What has started to interest me is how you use all the different disciplines and tools we have at our disposal, and that includes going into different art forms, like music and movement, because often they can tap into things that characters can't necessarily express through words. Audiences really enjoy that total experience.

When you're growing up, it's very easy to feel lonely and insecure.

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.

I think associate director jobs are the best in the world, because you can do what you want and not have to take responsibility for it!

I have a personal issue with Shakespeare. When I first encountered him, he made me feel thick. Well, not him, but the productions I saw.

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.

We just don't need any more 'Macbeth's in the world, however brilliant mine might turn out to be.

No space should be safe from theatre.

I love mishmash and the chaos of art forms.

'Thou shalt not bore' is a commandment that should be at the centre of our ambitions.

I was pre-med at Glasgow University. I was from a family who were of the mind that if you were clever enough to be a doctor or a lawyer, why wouldn't you be?

Broadway is full of crazy people.

Theatre is a living organism. You only know if your show is working when you see it with an audience. You can also tell when it isn't working - it's horrible, and you desperately try to figure out how to make it connect.

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.

'Once' constantly surprises me. I think it's the power of the music and the storytelling that people connect with.