There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.

The apple cannot be stuck back on the Tree of Knowledge; once we begin to see, we are doomed and challenged to seek the strength to see more, not less.

No one wants the truth if it is inconvenient.

Theater is a very changeable art. It responds to the moment in history the way the newspaper does, and there's no predicting what to come up with next.

If I have any justification for having lived it's simply, I'm nothing but faults, failures and so on, but I have tried to make a good pair of shoes. There's some value in that.

Amos Oz is one of the finest novelists of this entire period. MY MICHAEL is a beautiful work of great depth and in some indescribable way lingers in the mind as a lyric song to his country's people as much as a moving love story.

It occurs to me that with all the television people watch, most of their acquaintances are actors.