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.

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

I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter.

I don't put big concepts on my work, and it's all often about keeping actors in a room together and not letting them leave.

I don't like the sort of hierarchical, totalitarian type of room a lot of directors can find themselves in.

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.

What I've learned in the last few years is that I am merely a storyteller.