The great mystery of adaptation is that true fidelity can only be achieved through lavish promiscuity.

Style is the art of getting yourself out of the way, not putting yourself in it.

[VIA DOLOROSA]'s pushing Broadway as far as it can be pushed. I stand before you as a reporter, and you have to decide whether I'm an honest reporter or not. And if you're convinced that I am honest, then I think that you will listen to me in a way that you wouldn't have listened to a fiction where scenes are made. . . . I've thought quite long and hard about what I want to say in this play. And if it means that every single sentiment that I produce is put minutely under an ideological microscope, that's fine.

As you write plays, you discover what you believe. And until you know what you believe, you can't write a play.

The most important playwright's gift is to hit your time and speak to your time.

Obviously VIA DOLOROSA is completely artificial. It is as highly wrought as any of my plays. But basically all the artifice is to disguise itself so you don't feel it's there. You're attempting to make the artifice like a pane of glass that simply leads you through to the subject - not to decorate the bloody glass.

Weak minds sink under prosperity as well as adversity; but strong and deep ones have two high tides.