Trust is front and center in the working of this production, and it's conceivable there is a harder-working team of theater practitioners than the 'Cursed Child' company, but if there are, I'd like to meet them.

In real life, I wish I could do a Scourgify. That would just be incredible helpful, when I know the rest of the family is gong to be back in 30 seconds and I haven't tidied up. That would be really helpful.

It can be painful leaving parts of yourself behind. Change and shuffling off your previous skin is traumatic, but it can be done.

I was twelve when I went to boarding school in Edinburgh.

Theatre is home - I grew up doing it - and that is never going to change.

I think what I have to offer is more useful in theatre than on screen.

I miss the generation of actors such as John Mills, where it doesn't surprise you at all when he crops up in a film tap-dancing.

I think it's harder to write about joy than pain, isn't it?

I've done a lot of shows over a long time, and I've lost my voice on plays before, and it's because I've been thinking closely about what I'm doing with my voice. Babies can scream all day and never lose their voice because they just mean it. As long as you mean it, then it carries you through. It's do it or don't.

When I got the job on 'Cursed Child,' I was doing another show in the West End, and I was playing a part that Marlon Brando had played.