So I know who Gordon Greg was, but I feel like I do now. So theatre designer, woodcut and the etcher, typographer, puppeteer. Yeah, wow, he did a lot. He definitely did a lot. I think he's a figure that isn't particularly well known in British theatre. He's very well known internationally on the continent, but I think in Britain we are, he's someone that's been slightly forgotten. I guess until about 20, 30 years ago he was still pretty despised. He was despised because of this essay that he wrote in 1905, for goodness sake, called the Act on the Uber Marriottnet, in which if you read it straight off the page it seems to suggest that he wants to get rid of living actors and replace them with a marinae net. What in fact he wants to do? He hated West End Actors because they posed, they were opinionated, they stood sideways and looked at the audience and said, look at my wonderful clothes, look at my wonderful dress. He hated the idea that the ego of the actor. He said, let's get rid of that. What I want is somehow the intensity of the mass, the face of a marinae net. But he wanted the living actor to do it. I think the thing that struck me the most about it today was his ties to movement and the performer. I have a background in movement and sort of struck me as being an essential element to how Gordon Craig saw theatre communicating itself really. Craig didn't help himself. When he was invited to come and do something he often put obstacles in the way like, oh yes, well I need such and such a size, I need such and such a budget or I need the theatre empty for six months before the first night in order to create my scene. The poor producers, they gulped and they said yes, yes, yes, yes, yes, until Craig asked for the final thing, the straw that broke the back and then he would reject him etc. So he didn't help himself in that. He was absolutely uncompromising. He hated the idea of reforming the theatre. There were a lot of people in the Twenties and particularly in America and in continental Europe reforming the theatre, rebuilding it and he said, that's no good. You've got to get rid of it all and start from scratch. Start from the energy of the theatre of Ancient Greece. Start with that energy and build from scratch. You can't do anything, you've just got to get rid of it, it's hopeless. Which of course is an idealistic but doesn't exactly endear you to the theatre going public and the profession hated him generally speaking or despised him, particularly in England. I think the real surprise is just how much of his work we now take for granted and how much has just become embedded into contemporary theatre practice. I think it's about how we communicate as an ensemble in that theatrical space, the audience and the performer of being an ensemble on that respect and I think Craig's vision of that is particularly unique. It's particularly important in relation to his thinking about theatre lighting for me. He's thinking about how light might animate the scene and has an ambition for lighting performance that was way ahead of its time and it's partly why, also why he was not really recognised. He was a revolutionary in terms of theatre design. We're talking about it a hundred years ago. I think what it does is it shows people that some of his ideas are now going on the stage. Things like Peter Brooks, Mid-Summer Night's Dream in the 60s and I heard someone else quoting about the National Theatre of Production, the Warhorse and some of those, certainly those two productions in particular, have cragian effects, the use of space, the use of light, the use of vast amounts of space, quite different to what was going on saying the 30s and 40s in the theatre even when Craig was making these extraordinary Cease Cs and indeed his own production of Hamlet 1912 with Stanislavski was extraordinary. One of the bigger productions he actually managed to get onto the stage. The thing that most interests me actually is that something I discovered a little while ago. I've been writing about darkness in theatre recently and I've came across as a contemporary British company called Punch Drunk who make so-called immersive theatre productions. And field-experit, their artistic director, makes these works in converted buildings often. So I came across, he's a writing by him saying that he asked, when he was asked, who was the most inspirational person for him in theatre he said Edward Gordon Craig. And because he came across Craig by his teacher when he was doing a level theatre and that they had been taken into a sports hall and exploring a text through being put underneath the table and all the lights being turned out and how this idea of darkness and light that for me is really important to Craig's work. I had also made a big impact on field-experit and you can see that impact in the work he makes, sleep no more in New York, the drown man in London and so on. And these productions are actually having a major impact on mainly young people but contemporary performance practice in the UK and elsewhere. We're learning all the time. I do think it is important that people find out more about it, find out what his idea is.