You’re not allowed to step out of whatever the rules are, politically, or socially, and they’ll get you for it, they’ll hunt you down. That’s the really frightening thing.

Lord Chamberlain’s readers or controllers, which were a handful of people working directly to him, were a very assorted group of people and some of them tried very hard to be as liberal as they could.

No producer should revive a play unless they have a very good reason for it. I think there’s quite enough about a good play to make it available to new audiences.

Anybody can decide if they have got the money to fight a case if they don’t like a particular thing, and they complain to the watch committee, local council or whatever.

I don’t believe in right-angled turning points.

I’m reluctant to use the word class so much.

I don't believe in right-angled turning points.

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.

The Long and the Short and the Tall made a great impression on me because it was a very ugly tale about the reality of soldiering at a time when we were being gung-ho about the whole thing of war.

Suddenly we saw that you could do plays about real life, and people had been doing them for some time, but they weren't always getting to the audiences. They were performed in little, tiny, theatres.