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.

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.

Our lives are a sequence of things. When we're alive, they're continuing, just as my words now are an improvisation. So the idea of 30 years is actually quite nebulous. It's impossible to encapsulate it. All you can do is go: 'what next?'

'Endgame' resists narrative and even thematic explanation. How you play it has to reflect this. If you decide something too much in advance, you forget the element that gives the play life - the audience.

I allow people to create, but I'm also marshalling everybody, which is difficult for my creativity, as I'm like a referee. Everybody else is kicking a ball. It is very messy. From the mess, though, you refine what is there.