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They put some of us into the original production of Caryl Churchill’s Serious Money.

It was my first real experience of professional theatre, and we played the traders on the floor and I had one line.

My first interest in acting was through seeing the musical Annie – and it wasn’t even in a theatre but on the Royal Variety show on television.

But I thought that looked good.” It led to a career that began in the theatre, first in the Royal Court’s youth theatre and writing programmes.

He is such an extraordinary director, and I’ve been very lucky that at the time I started the -directors who are my peers, like Dominic and Ian, have a way of working where you are all in it together.

But she’s also quite clearly a grafter; she’s worked at it, as she does on every stage of the acting process.

Asked for advice on how to tackle auditions she replies: “Really do the work. I work really hard, I think very deeply about what I’m doing and spend a lot of time poring over the script and trying not to miss anything.” She takes none of this for granted: she approaches theatre as a serious matter, but a uniquely fun and nourishing one, too.

“I wasn’t sure what I wanted to do, but I saw an ad in Time Out and I started off in a writing group there.

Hanif Kureishi was running it and we’d meet a couple of times a week.

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