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

How to live had started out as an analytical problem of how to place himself so as to intercept the flow of money in the society.

When today fails to offer the justification for hope, tomorrow becomes the only grail worth pursuing.

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.

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.

A lot of my work goes to the center of where we belong--if there is any root to life -because nowadays the family is broken up, and people don't live in the same place for very long.

The world is always ending; the exact date depends on when you came into it.