Frayn in the frame

'It seems to me that the theatre's just a very clear example of what we all do all the time in life - we're both performing and being the audience' ... Michael Frayn Photograph: Graeme Robertson/Guardian

'A play that hilariously explores, and exploits, the insane rituals of theatre' ... Natalie Walter and Aden Gillett in the National Theatre's revival of Noises Off Photograph: Tristram Kenton/Guardian

'Somerset Maugham said that writers should sit with their back to the window. I sit sideways on most of the time. Moderation in this, as in all things' ... Michael Frayn's writing room Photograph: Eamonn McCabe/Guardian

'Shows that out of a three-character, one-set play you can create intellectually gripping drama' ... Matthew Marsh, David Burke and Sara Kestelman in Copenhagen at the Cottesloe Photograph: Tristram Kenton/Guardian

'A play that shows how the divided selves of chancellor and spy echo the contradictions of the two Germanies' ... Roger Allam in Michael Blakemore's National Theatre production of Democracy Photograph: Conrad Blakemore/PR

Conleth Hill in rehearsals for Democracy. He played the key role of Gunter Guillaume, Stasi agent and assistant to Willy Brandt Photograph: Conrad Blakemore/PR

'Gloriously makes a bonfire of the genres and produces a kind of propulsive madness' ... Samantha Bond, Edward Petherbridge and Mark Addy in the West End revival of Donkeys' Years Photograph: Tristram Kenton/Guardian

'The joke depends on a fantastic premise being developed with impeccable logic' ... Lyndsey Marshal and Peter Capaldi in The Crimson Hotel Photograph: Tristram Kenton/Guardian

Roger Allam returns to the National to work on Frayn's latest play, Afterlife, playing the role of theatre impresario Max Reinhardt Photograph: Conrad Blakemore/PR