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It must have been an extraordinary time. I guess the worrying thing about musical theatre to me, is if you look at the London season this year, mine is actually the only one to have come in.

When we'd suggested doing it, the Theatre Royal management had said, 'Nobody wants to see Waiting for Godot.' As it happened, every single ticket was booked for every single performance, and this confirmation that our judgment was right was sweet. Audiences came to us from all over the world. It was amazing.

London has this culture of the theatre that is so big, it was a like a dream - but I never had a thought to be able to play here because my English was not very good. So being given the opportunity to come work here was like a gift.

What turns me on is to walk into a sold-out venue. The audiences are so much the same as they were in the '60s. It's just an amazing thing. I can't explain it, but I hope it never stops.

I think it's one of my favourite theatres ever, so quirky and wonderful and steeped in history. The space is wonderful and the acoustics are brilliant.

In 2012 the best venue I played was Union Chapel in London. It's a beautiful room, the sound is exceptional, and they treated us very well.

The newly decorated theatres produced things like car parks and restaurants, so you could have a good night out, quite cheaply without all that bother of having to go somewhere else.

I also hope that with the assistance and expertise of Dome Records, that I will be able to further pierce the UK and European market. I really like playing there and I want to do more! I've found that the audiences get quite involved and really listen to what's happening.

Theatres, along with the likes of the Ulster Orchestra, for example, are the cultural heartbeats of our towns and cities, and without them, we are much poorer for it.

I hate that people think going to the theatre is a special occasion. I wish people would treat it as normally as going to the cinema.