“There’s been a predominance of television realism and of a section of the critical culture that demands a moral message from new writing. This is in danger of making theatre about as interesting as muesli. Why would anyone write stage plays now? If you can write dialogue and you can hit a deadline you can write TV. You can write about your south London council estate or your middle class swingers and you can make more money and reach more people and therefore have more impact. Apart from anything else, the denial of the larger stages to living playwrights has made it harder and harder for them to earn a living from writing, as they see their income from royalties dwindle to insultingly low levels.”