I was keen to stage 'Faust,' although I find Goethe's 'Faust' indigestible.

There's something hopeful about 'Endgame.' Beckett strips everything away and asks what remains. There's this surgical dissection of the soul, but at the bottom, you find shafts of light.

I try to push a single idea to its absolute limit. So for all of those ideas that existed in the story, you attempt to find a physical realisation in the space.

'The Magic Flute,' I think, is fundamentally asking what is it to change people's consciousness.

Theatre is about the collective imagination... Everything I use on-stage is driven by the subject matter and what you might call the text - but that text can be anything, from a fragment of movement or music to something you see on a TV.

Infinity is a way to describe the incomprehensible to the human mind. In a way, it notates a mystery. That kind of mystery exists in relationships. A lifetime is not enough to know someone else. It provides a brief glimpse.