I appreciate good criticism and I think it's really important. I don't like it when it's consumer advocacy, like how you should spend your $60. Great criticism is a kind of literature. I've written some criticism, and I really enjoy it because I think it's important for people to know that theatre is vital. Criticism is really unevenly distributed in this town. Obviously the power of the Times is discouraging. It's killing new plays, demolishing one after another.

I think because my brother was an actor and I just saw how he struggled through, I guess I'm sensitive to it.

When it's just a few scenes and a couple of actors behaving in a room, I feel very confident with that.

You can always count on the New York Times to cut your legs off.

I don't know where the characters are going to go or what's going to happen. I know that something inevitable will happen. I know that they want certain things and they're in a certain room and they smell like this and they look like that. More often than not, an entropy creeps in that strangles me, and then the inevitable happens. I don't know if I have the ability to write an ending like My Fair Lady's, when everyone gets what they want after a few minor conflicts. If I tried to write that it would just be false. Or I'd have someone enter with a machine gun.

I find auditioning to be a very illusive process, where actors come in with this really big result with no process, so it's a lie already at work.

When I'm directing, I'm pretty much not writing, but when I'm not directing I am writing a lot.