I shall be directing “Escaping the Storm” as well as having written it. Directing requires a whole different set of skills so I try to keep the two creative facets apart. Once the play is written I cease to become the Writer and become the Director. The text will be treated exactly as if we bought it off the “plays” shelf at Waterstones. If the actors want to discuss the reading of a line I say that the writer is in a pub somewhere and we have to unravel intention from what is before us. Quite often I’ve forgotten writing a line in any case and haven’t a clue why it’s there. On the other hand I trust that the writer knew what he was doing when he wrote it so I’m not going to indulge in cuts or rewrites. At the moment, however, that is a little way in the future. Now, I’ve got to work with the designer (Annette Sumption whom I trust implicitly having worked with her for nearly forty years) and the other vital makers and doers as well as working out schedules for the actors. The development period starts in a fortnight and the actual rehearsals two weeks later. The script is very much of secondary importance at the moment.