The idea of making audiences feel like they matter, that the theatre matters, and that they're a partner in the event—that's what fuels me as a director . . . I believe it's actually radical to think about the audience.

Theatre and opera were always the twin kingdoms that I felt I had to conquer, because they were my parents' favorites.

The idea of making audiences feel like they matter, that the theatre matters, and that they're a partner in the event—that's what fuels me as a director . . . I believe it's actually radical to think about the audience.

I had to drop a boulder to wake people up about the A.R.T. We've done that, and now we have audiences again who want cutting-edge work, who want to be challenged, but who also won't be falling asleep at the theater.

I had this epiphany that I like the interaction with people. I wanted to make things happen at a grassroots level.

I don't want to be in an art bubble.

When you're a freelance director, you are hired to create the art, and it kind of stops there.