There's a real fantasy quotient to my work. Any play that I've written for myself to perform in basically begins with the idea, "Wouldn't it be fun to be, say, Jean Harlow in a pre-code movie?"

I don't think I could ever go to Auschwitz, because when we took that tour of MGM, I nearly collapsed outside the Thalberg building.

I saw "Follies" again at thirty, and you know, I had this great appreciation for [Stephen] Sondheim's brilliance, his lyrics.

I wish somebody would just give me a couple of million dollars a year, so that I could do a play based on every little fantasy I have.

I read a lot of those Single Girl in New York books, like "Fear of Flying," where you could sort of put yourself, through transference, into the Jewish Girl in New York situation.

At fifteen, it [ "Follies"] didn't have any kind of resonance with me, this show about regret and middle age.

I'm writing the book to a children's musical. I got a note from the producers saying, "Can't you make it campier?" So now, I'm trying to determine the camp sensibility of the average eight year old.