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.
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.
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.
The foyers now look ridiculously small to us because not all that many people used them.
The classical writers... playwrights, Jacobean, Elizabethan playwrights, all showed areas of all classes and how they live and painted them pretty authentically.
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.
In 1968 the Arts Council managed to get a grant from the treasury to buy up a lot of derelict touring theatres and put them back in the hands of the local authorities.
I'm reluctant to use the word class so much.
I don't believe in right-angled turning points.
A conventional playwright tries to tell you more about the characters than they know about themselves.
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.
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.
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