As a writer, I've always believed that while my work and I myself are embedded in whatever period I am writing about, clearly I am sensitive to the winds that are blowing in the culture. At the same time, I have always felt that the issue was not to deal with the problem in the abstract, but to deal with the people who are in that problem. The emphasis is on the people. The general problem begins to resolve itself even before the play is finished.

They know your name, address, telephone number, credit card numbers, who ELSE is driving the car "for insurance", ... your driver's license number. In the state of Massachusetts, this is the same number as that used for Social Security, unless you object to such use. In THAT case, you are ASSIGNED a number and you reside forever more on the list of "weird people who don't give out their Social Security Number in Massachusetts."

The Devil is precise; the marks of his presence are definite as stone.

When any creativity becomes useful, it is sucked into the vortex of commercialism, and when a thing becomes commercial, it becomes the enemy of man.

I cannot sleep for dreaming; I cannot dream but I wake and walk about the house as though I'd find you coming through some door.

Whether for good or evil, it is sadly inevitable that all political leadership requires the artifices of theatrical illusion. In the politics of a democracy, the shortest distance between two points is often a crooked line.

Playwriting is an oral art; it's not an art of a writer expecting to be read but a writer expecting to be heard.