If you intellectualize and examine the creative process too carefully it can evaporate and vanish. It's not only terribly difficult to talk about, it's also dangerous.

If a man writes a brilliant enough play in praise of something that is universally loathed, the play, if it is good and well enough written, should not be knocked down because of its approach to its subject.

All plays are social comment to one extent or another.

The difference between critics and audiences is that one is a group of humans and one is not.

There may be lots of questions that anybody - an actor or a director or anybody - can ask about a character in a play of mine that are not answered in the play, but if it's a question that I don't think is relevant, I don't bother about it. There's no reason to ask it.

People often ask me how long it takes me to write a play, and I tell them 'all of my life.'

When you're dealing with a symbol in a realistic play, it is also a realistic fact. You must expect the audience's mind to work on both levels, symbolically and realistically. But we're trained so much in pure, realistic theater that it's difficult for us to handle things on two levels at the same time.