The BBC Symphony Orchestra gave regular concerts in the Guildhall. There was a procession of… of extraordinary productions at the Arts Theatre, tiny theatre, but never mind. I saw Gielgud's Hamlet when I was 12, I think, 1942, standing at the back for sixpence, at the back of the Arts Theatre and I was hideously precocious and I – I almost don't like talking about it because it… it sounds so full of clichés – but on my 10^th birthday, I heard Mozart's Requiem in King’s College Chapel. That's what I asked my parents I could go to, and on the Monday night – that was on the Sunday – on the Monday night, I heard the Marriage of Figaro at the Arts Theatre done by Sadler's Wells on tour. I remember the Figaro quite vividly. I remember the… the elegance, the wit, the speed and the funniness. I liked all that, but I have to say the passion for Mozart and the passion for music was very largely because I was trying very hard to play Mozart sonatas. Now, Mozart sonatas are the easiest and the hardest thing in music to play. They're very, very easy to play badly, which we all do, and very, very hard to play well. Very few people can make a piano sing and that's what it needs. Anyway, I was absolutely hooked into all that and I suppose at that time if anybody had said to me, ‘What do you want to be?’, I would have said: ‘A musician’. And part of me still says that. Had I my time over again, I'd love to be that man up there with the baton because if… when the violinist says, ‘I don't feel like playing A flat’, which an actor can say to you, ‘I don't feel like saying this line’, you say, ‘You play A flat, that's what it says, now ready? Off we go’. But maybe I would have been a very dictatorial conductor and I don't think I'm a very dictatorial director. Anyway, loads and loads and loads of play-going in Cambridge, seeing amateurs, seeing professionals.