Once upon a time, I was involved in a small and vastly underfunded theatre company's production of a play by one of the world's greatest living playwrights. There wasn't an awful lot of sound in it; in fact, there was one effect, and the playwright concerned, who was directing his own production, resisted the suggestion that a bit more sound might not go amiss. So, always sensible of the financial vicissitudes of subsidized theatre in the UK, I forbore to accept a fee and provided the
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