Necessarily, I'm always involved in casting, as any playwright is, because the whole process of putting on a play is a collaborative, organic effort on the part of a bunch of people trying to think alike.

Learning to write for the theatre is learning to be a human being, because the theatre by its very nature makes you deal with other human beings.

I think everything should be in verse. 'The New York Times' should be in verse.

Verse comedy is interesting to me because of the challenge of writing in rhymed couplets, which is not a form that's usually amenable to English, yet to me it gives great possibility for comedy.

Lists are anti-democratic, discriminatory, elitist, and sometimes the print is too small.

Plays are always about intense relationships, whether they're intense love relationships or family relationships or existential relationships.

I've taught both screenwriting and playwriting, and playwriting is both much harder and much more rewarding. One can teach people how to tell a story in cinematic ways, but theater is a much more elusive craft.