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Here in stratford is working with young people who of course are experiencing shakespeare for the first time. mm. i often think, when i'm starting a new production, "i wish i didn't know what happened in this play." and of course they don't. and i think that is the... for me, that's always been the starting point, that i'm directing my production to the 13—year—old boy i was sitting up there in the gods in 1973, and to me that is a constant refresher. i mean, i think there are times when a company like this, the danger is that it becomes a treadmill. and it's, "if it's tuesday, it must be ...

I will not trouble thee, my child; farewell: we'll no more meet, no more see one another. but yet... ..thou art my flesh, my blood... ..my daughter. you know, it's not eight months yet since he left. i don't feel he's somehow sitting on a cloud somewhere. but i do feel, you know, during the rehearsals for richard iii, for instance, a play that he had his fingerprints all over, i did feel him sitting like a bad prosthetic hump on my shoulder, sort of urging me to try harder, to explore deeper, to accept nothing but the best, which is... which in a way is his legacy, and i hope something of our ...

13—year—old kid who might have been in the stalls or up in the circle. when you were that kid, in the 1970s, culture was very different. it was. the kid of today is being brought up with computer games, with sort of a quick fix, quick hit, internet—driven culture, which might make him or her less inclined to be interested in william shakespeare. of course, i'm generalising massively, but the culture has changed. it has. and does it make it more difficult to connect to shakespeare? we constantly look at what it is that is engaging people now. so, you know, the digital aspect has become ve...

Found it in the car park. nor do i think we have to have an obese alcoholic play falstaff or a scottish murderer play macbeth. but i think there are times when... ..i think you have to... you have to look. you know, i think this goes back to, for instance, 0thello in the, what, the late �*80s, i would say, when suddenly it felt that it was no longer appropriate... this company made an absolute policy. no longer appropriate to have a white actor... having a white actor black up. ..playing a black character. completely. but what you then got was a generation of, you know, you've got some fanta...

Culture has changed. it has. and does it make it more difficult to connect to shakespeare? we constantly look at what it is that is engaging people now. so, you know, the digital aspect has become very, very important. i did a production of the tempest, shakespeare's most magical play, and i remember saying to my team, "look, you know, in shakespeare's "day, he was using high tech." he was using the technology available for the jacobean masques, which included lighting effects and stage machinery. and what is it that we would need now to astonish an audience? and we created that through extrao...