I'm happy. Which often looks like crazy.

Originally the structure was . . . a modern narrator who would appear intermittently and talk about his memories of his grandmother, which would then be juxtaposed against scenes from the past. But the stories from the past were always more interesting that the things in the present. I find this almost endemic to modern plays that veer between past and present. . . . So as we've gone on developing GOLDEN CHILD, the scenes from the past have become more dominant, and all that remains of the present are these two little bookends that frame the action.

I'm happy. Which often looks like crazy.

I define the American dream as the ability to imagine a way that you want your life to turn out, and have a reasonable hope that you can achieve that.

Chinese culture in general is not very religious. Confucianism is more a code of ethics than a religion, and ancestor worship is a way for parents to control you even after theyre dead.

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.

Consider it this way: what would you say if a blond homecoming queen fell in love with a short Japanese businessman? He treats her cruelly, then goes home for three years, during which time she prays to his picture and turns down marriage from a young Kennedy. Then, when she learns he has remarried, she kills herself. Now I believe you should consider this girl to be a deranged idiot, correct? But because it's an Oriental who kills herself for a Westerner–ah!–you find it beautiful.