West is about courage: the courage to live according to your spirit and not the guidelines laid down for you by others, to be true to yourself, which may involve alienating others, but your truth is worth pursuing since it defines who you are. It shapes, forges and hones you into something that is not vague but clear-cut and definite. Mike’s truth is to live for simple principles and to put his courage where his mouth is. He defeats the Hoxton monster and will continue to fight monsters so that others can rest safe in their beds. While the play is an allegory about demons we must defeat, it is also about an area of time and space called London and, specifically, Stamford Hill or Hackney, N16. You wore tailored suits and strutted your gear at the Lyceum, Strand, on Sunday nights. Movements were short, percussive and cool – Oscar Rabin led the band, Lita Rosa sang and the Kray twins would stand and survey their domain. I never saw them dance. Stamford Hill stood at the crossroads of Tottenham, Dalston and Hoxton and was subject to attacking forays from many directions. Such skirmishes were few, but I remember when, instead of sending a gang each time, Tottenham would send, symbolically, one of their toughest fighters to come and spread terror and challenge our leader. There was one young man from Stamford Hill who somehow elected himself to take on each one, and he did in fact beat them all. He was a frightening cur who actually put his fist through doors for practice. His name was Harry Lee. Mike is not based on a hero but is an amalgam of feelings that I had at the time and my observations of the environment.
Steven Berkoff, 1994