. . . I do think that deep down, a lot of my work is about people trying to make reasonable accommodations of situations that are insane or absurd. . . . At first I thought the events had power in themselves, that I would just present them. I really wasn't aware of the things that finally became central issues to me - the shifting alliances, the way people hardly even know they've shifted. That part of [A QUESTION OF MERCY] is very familiar to me in terms of my other plays.

It was a roller-coaster process. For a long time I had no idea what I was doing. I wasn't writing with an outline. And, rare for me, I wrote scenes out of sequence. . . . I didn't understand the play when I wrote it. It was something I'd give in to. It happens to me periodically. I give over and write whatever comes to me and I don't know what it means and then I do. It's thrilling.

. . . I do think that deep down, a lot of my work is about people trying to make reasonable accommodations of situations that are insane or absurd. . . . At first I thought the events had power in themselves, that I would just present them. I really wasn't aware of the things that finally became central issues to me - the shifting alliances, the way people hardly even know they've shifted. That part of [A QUESTION OF MERCY] is very familiar to me in terms of my other plays.