There are certain early plays of mine that I really don't like, but I can't imagine going back and fixing them. I would be totally incapable of it. I'm not in the head of the characters anymore.

I'm terrible at speaking extemporaneously about my work - I get completely tongue-tied and consumed with fear.

For me, being a good creative writing teacher is actually kind of being a good therapist. The line is very porous - you can also be a creepy guru/abusive therapist, too, so you have to be very careful. But it feels really important to me.

I never had a lot of ideas. I always have exactly one that is the next project; the idea of a project beyond that project is ludicrous.

I'm very interested in silence. And, more importantly, in what happens when people aren't talking on stage. I'm interested in letting actors play and do things between the lines. And in slowing everything down.

I was raised by a single psychologist mother and we spent every evening sitting at the kitchen table and dissecting our emotions and speculating about the inner life of everyone we knew.

For me, on every project, I realize that I've boxed myself into a corner, or that the play necessitates some sort of theatrical convention that I realize I hate while I'm making it. So then the next play is always a rebellion. Or like, the thing I didn't even realize I was doing last time I will make sure I don't do this time. But there's always some other blind spot. And then that blind spot inspires the play that comes after.