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.

Sudden resolutions, like the sudden rise of mercury in a barometer, indicate little else than the variability of the weather.

The theatre is the best way of showing the gap between what is said and what is seen to be done, and that is why, ragged and gap-toothed as it is, it has still a far healthier potential than some poorer, abandoned arts.

Purity is the feminine, truth the masculine of honor.

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

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

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.