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Political theatre presents an entirely different set of problems. Sermonising has to be avoided at all cost. Objectivity is essential. The characters must be allowed to breathe their own air. The author cannot confine and constrict them to satisfy his own taste or disposition or prejudice.

I don't think it's the job of theatre at the moment to provide political propaganda; that would be simplistic. We have to explore our situation further before we will understand it.

Politics in a literary work, is like a gun shot in the middle of a concert, something vulgar, and however, something which is impossible to ignore.

It's harder to take politics seriously, to understand the issues, than it is to drown it all in a sea of scorn. And while the world cries out for greater analysis and insight, we are distracted by bread and circuses, aka the 'Great British Bake-Off' and 'Tumble.' We should rediscover our tradition of satire. Of speaking truth unto power.

Theatre can be so patronising. So often, it's just proselytising for the theatre.

All I'm saying is that there are many different kinds of political theatre and many plays I greatly admire: 'Antigone,' 'Mother Courage,' 'All My Sons.' But, if I tackle a political theme, I have to do it in my own way.

Theatre has no national identity. It is something for the world, whether it is Irish, English, or French.

There was no real fringe theatre in London until way after the war, so either a play was done secretly with a club licence or it was done openly and had to be assessed along with everything else.

Politics with me isn't theater. It's performance art. Sometimes, for its own sake.