Actor

You're always trying to find common ground with whatever you do, but you want to not be thinking about yourself when you're performing a play. The job is getting yourself out of the way and letting the character go about the scenes.

You're always trying to find common ground with whatever you do, but you want to not be thinking about yourself when you're performing a play. The job is getting yourself out of the way and letting the character go about the scenes.

I was twelve when I went to boarding school in Edinburgh.

When I got the job on 'Cursed Child,' I was doing another show in the West End, and I was playing a part that Marlon Brando had played.

Spoilers are inevitable.

Theatre is home - I grew up doing it - and that is never going to change.

I'm making it up as I go along, like everyone else. There probably are some actors who are quite methodical or at least take their time about what particular footholds to find on the rocks next. There are always choices, even when you're not getting seen, for how to spend your time. It's only after 10 years that I got any kind of traction at all.

New York really does know how to welcome you through its gates - if they decide that's what they want to do.

I think it's harder to write about joy than pain, isn't it?

Isn't it a rare thing, telling hopeful stories now? I think we need more of that, to be honest.

I will take to my grave with me the atmosphere of the first 'Cursed Child' preview, because no one knew anything. Only very rarely have I been able to deploy the phrase 'audible gasps.'

I like Monoloco in Petersfield, Hampshire, and Little Dorrit in London's Borough Market. Everything's delicious, healthy, and inexpensive.

If you want to do good material and you're lucky enough to get a chance to do it, then chances are probably somebody pretty nifty will have been there before you.

I don't think people should be priced out of going to the theatre... But we have to recognise that it is a show business.

I've done a lot of shows over a long time, and I've lost my voice on plays before, and it's because I've been thinking closely about what I'm doing with my voice. Babies can scream all day and never lose their voice because they just mean it. As long as you mean it, then it carries you through. It's do it or don't.

Wizarding is technical to me. When you get something that adds up to more than the sum of its parts, that feeling is magic to me. That's a kind of alchemy.

Theatres that are stuffed to the gunnels leave me feeling rather peaceful - that's when things are going right. When you're playing to 40% and trying to make the budget, it's more difficult.

For my money, all theatre should be free.

J. K. Rowling has already got a whole generation reading.

I think what I have to offer is more useful in theatre than on screen.