A comedy is just a tragedy interrupted, I once said. Do you finish with the kiss or when she opens her eyes to tell him she loves him and sees blonde hairs on his collar?
I think of a plot, I think of an idea, and then I wonder, How can I get that onto the stage? . . . Whatever devices you use should always be there to serve the theme. If the theme has been overtaken by the device, then something's wrong.
A gentleman ... sleeps at his work. That's what work's for. Why do you think they have the SILENCE notices in the library? So as not to disturb me in my little nook behind the biography shelves.
What I find interesting is how close you can run the laughter along the seam of seriousness, and occasionally cross it, so that half the house genuinely doesn't know whether to laugh or cry. Custard pie humour is fairly universal, but at the other end, which I'm more interested in, there's the humour that hovers on the darkness, that walks in the shadow of something else, not always that obvious.