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

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 I'm a little more daunted by when the machinery of the play is really huge.

You can't run forever. There's only so much pavement that the road makers lay down. After a while, the highway quits going north and it just turns into sky. And you can't go anywhere in the sky unless you have a plane or some kind of rocket.

It was like losing an important weight-bearing bone, and I knew I would spend the rest of my life trying to figure out how to walk the streets without it.

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.

In Chekhov, when people leave, a carriage is taking them away forever. The stakes are so high just for someone to make a simple exit. And now we have all this access to public transportation, automobiles and jets and the Internet; we're so easily distracted, but the world is still designed to destroy you. It just happens quicker and faster now.