ABSTRACT
Playwrights like to think that they’re the sole author of everything that happens on stage. But in this case I knew that I would be sharing the driver’s compartment with many others. Like the book-writer of a big musical, or the screenwriter of a film, I would be referring constantly to the designer, the movement director, the composer and every other member of the creative team. I would be working with the producer and the director, both united in the form of Nick Hytner. And I would be working with Philip Pullman.
