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.

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

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

Thought is the wind and knowledge the sail.

The actual business of writing dialogue is not thought of as a craft.

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

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