I don't set out to write a play a year. Sometimes I've written two plays a year. There was a period of a year and half when I only wrote half a play. If it depresses some critics that I seem prolific, well, that's their problem as much as mine.

If the playwright is strong enough to hold on to reasonable objectivity in the face of either hostility or praise, he'll do his work the way he was going to anyway.

I'm back in fashion again for a while now. But I imagine that three or four years from now I'll be out again. And in another fifteen years I'll be back. If you try to write to stay in fashion, if you try to write to be the critics' darling, you become an employee.

Why we are here is an impenetrable question.

As a fairly objective judgment, I do think that my plays as they come out are better than most other things that are put on the same year. But that doesn't make them very good necessarily.

A lot interests me - but nothing surprises me particularly.

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.