. . . I felt I was finally in a position to affect not only the artistic content of the American theatre, but also its institutional structures. This has been an important goal of mine, as there have always been a variety of issues - artistic freedom, author's rights, access by minority groups - which have concerned me and even influenced my decision to become a playwright in the first place.

This is the ultimate cruelty, isn't it? That I can talk and talk and to anyone listening, it's only air--too rich a diet to be swallowed by a mundane world.

I've never quite understood the idea of a "season." Whenever an artistic director says to me, 'I have this slot,' I always start to feel we're parking cars or something.

Tonight, I've finally learned to tell fantasy from reality. And, knowing the difference, I choose fantasy.

Death with honor is better than life... life with dishonor.

Time flies when you’re being stupid.

Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.