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There was a time when American theatrical properties were looked at with reluctance and skepticism. I think there was a loyalty to British writers that has passed: British audiences are interested in quality, and wherever that comes from they are down for it.

Shifting from stage to TV, how do you look back on your career-advancing role as Kyle in Smash?

What is your take on your character, Patrick, who was described in The New York Times review of the off-Broadway show as a “sensitive hustler”? He’s sort of a drifter who has really set out on his own, and what he has to offer, really, is his youth and some level of being desirable, and so he hustles to get by.

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I find myself attracted to people who are interested in all forms of expression.

Do you find yourselves dreaming of projects together?