I got very cross with the term, kitchen sink. It just meant that you invaded different kinds of houses, where it was very difficult to avoid kitchen sink.

Towards the end of the Lord Chamberlain's era, when his hold was being loosened, private prosecutions began to happen. A member of staff at the Royal Court ordered to stop the play, and the police were brought in.

In 1968 the Arts Council managed to get a grant from the treasury to buy up a lot of derelict touring theatres and put them back in the hands of the local authorities.

Lord Chamberlain's readers or controllers, which were a handful of people working directly to him, were a very assorted group of people and some of them tried very hard to be as liberal as they could.

Suddenly we saw that you could do plays about real life, and people had been doing them for some time, but they weren't always getting to the audiences. They were performed in little, tiny, theatres.

You're not allowed to step out of whatever the rules are, politically, or socially, and they'll get you for it, they'll hunt you down. That's the really frightening thing.

The classical writers... playwrights, Jacobean, Elizabethan playwrights, all showed areas of all classes and how they live and painted them pretty authentically.

When you're writing about people that are not very well off, you seem to see the kitchen sink. So it was a bit of a sort of cosy phrase that got used a bit too much.

No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.

The Long and the Short and the Tall made a great impression on me because it was a very ugly tale about the reality of soldiering at a time when we were being gung-ho about the whole thing of war.

The foyers now look ridiculously small to us because not all that many people used them.

Anybody can decide if they have got the money to fight a case if they don't like a particular thing, and they complain to the watch committee, local council or whatever.

I got very cross with the term, kitchen sink. It just meant that you invaded different kinds of houses, where it was very difficult to avoid kitchen sink.

I'm reluctant to use the word class so much.

I don't believe in right-angled turning points.

A conventional playwright tries to tell you more about the characters than they know about themselves.

There was no real fringe theatre in London until way after the war, so either a play was done secretly with a club licence or it was done openly and had to be assessed along with everything else.

There were loads of plays which were very popular before and after the war, where everybody wore a dinner jacket in the third act and it was in a house that you wished you'd owned with people that you wish you knew. It was life seen through a very privileged way.

The newly decorated theatres produced things like car parks and restaurants, so you could have a good night out, quite cheaply without all that bother of having to go somewhere else.

Certain things were deemed to be offensive. It was usually bad language.

We all came from houses with doors, doors that were supposed to be closed when there were things going on that we weren't supposed to see, and when our pants were down.

Houses are built to live in, and not to look on: therefore let use be preferred before uniformity.

Portugal is a high hill with a white watch tower on it flying signal flags. It is apparently inhabited by one man who lives in a long row of yellow houses with red roofs, and populated by sheep who do grand acts of balancing on the side of the hill.

I think it was lucky that during most of the work on the Odyssey I lived on Homer's sea in houses that were, in one case, shaken by the impact of the Mediterranean winter storms on the rocks below.

Well, honey, I had the million dollar houses, I had the car, I had the horse, I had the barn; I had everything. Was I set free? I didn't even know what that meant.

I don't trawl record shops anymore. I usually hear music in bars or at friends' houses.

Why can't we, with a more intelligent policy, actually have houses that are affordable, built at higher densities than they are at the moment and built on brownfield sites.

I mean, I was born the day war broke out, but I don't remember all the bombs though they did actually break up Liverpool, you know. I remember when I was a little older, there was big gaps in all the streets where houses used to be. We used to play over them.

To be alive, to be able to see, to walk, to have houses, music, paintings - it's all a miracle. I have adopted the technique of living life miracle to miracle.

I rent houses in LA when I'm filming. I find the isolation there terrifying. There's nowhere to go, there's nowhere to be with people. I'm not a beach bunny.

It was very clear that this was a very, very old site. There were remains of sod walls. Fishermen assumed it was an old Indian site. Bu Indians didn't use that kind of buildings and houses.

Would it be possible to stand still on one spot more majestically - while simulating a triumphant march forward - than it is done by the two English Houses of Parliament?

People commonly educate their children as they build their houses, according to some plan they think beautiful, without considering whether it is suited to the purposes for which they are designed.

Children love secret club houses. They love secrecy even when there's no need for secrecy.

You do not build your own houses, nor make your own garments, nor bake your own bread, simply because you know that if you were to attempt all these things they would all be more or less ill done.

When I was 6 years old, I was in a rock band that was horrible called "Dead End." The name kind of described us. People liked us; we would go and perform at coffee houses and stuff.

Rich men's houses are seldom beautiful, rarely comfortable, and never original. It is a constant source of surprise to people of moderate means to observe how little a big fortune contributes to Beauty.

My parents were born in Norfolk and spent their early years working in the big houses of that rural English county, my mother as a cook and my father as a handyman and chauffeur.

After years in white theaters I dreaded working in colored houses. The noise, the stomping, whistling, and cheering that hadn't annoyed me when I was young was now something I dreaded.

By the late 1980s people realized that houses did not always appreciate and that they could fluctuate like any other market commodity.

If you take away money, if you take away the houses and things, who are we really? What is love really about? What is it to love each other? Why do we stay together, and why do all the kids split? All these questions I have really deep inside of me.

While civilization has been improving our houses, it has not equally improved the men who are to inhabit them. It has created palaces, but it was not so easy to create noblemen and kings.

The corridor is hardly ever found in small houses, apart from the verandah, which also serves as a corridor.

Like flats of today, terraces of houses gained a certain anonymity from identical facades following identical floor plans and heights.

Disapproval of homosexuality cannot justify invading the houses, hearts and minds of citizens who choose to live their lives differently.

There is no problem with the opening of new houses of prayer for Lutherans and Pentecostals.

Dad built houses and when they were sold, he moved on to a new town, so I know a lot about my native state.

That was the biggest thrill, going over to these guy's houses and having them want me to practice with them and they would show me a lot of stuff, which was really advanced stuff to me at my age.

Do you know how many houses all of the nonprofits have built? No more than 5,000 in five years. Do you know how many we lost? Two hundred thousand.