All plays are social comment to one extent or another.

In the two or three or four months that it takes me to write a play, I find that the reality of the play is a great deal more alive for me than what passes for reality. I'm infinitely more involved in the reality of the characters and their situation than I am in everyday life. The involvement is terribly intense.

The one living playwright I admire without any reservation whatsoever is Samuel Beckett. I have funny feelings about almost all the others.

Sometimes I think the experience of a play is finished for me when I finish writing it. If it weren't for the need to make a living, I don't know whether I'd have the plays produced.

Very few people who met my adoptive mother in the last 20 years of her life could abide her, while many people who have seen my play find her fascinating. Heavens, what have I done?!

There are two things that a playwright can have. Success or failure. I imagine there are dangers in both. Certainly the danger of being faced with indifference or hostility is discouraging, and it may be that success - acceptance if it's too quick, too lightning-quick - can turn the heads of some people.

Your source material is the people you know, not those you don't know, but every character is an extension of the author's own personality.