The one thing that Via Dolorosa has is no opinions. To me, curiosity is 50 times as valuable as opinion.

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.

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

Children always turn to the light.

Writers always sound insufferably smug when they sit back and assert that their job is only to ask questions and not to answer them. But, in good part, it is true. And once you become committed to one particular answer, your freedom to ask new questions is seriously impaired.

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

In oratory the will must predominate.