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.

I am not interested in living in a city where there isn't a production by Samuel Beckett running.

One has always got to be terribly careful, since the theater is made up of a whole bunch of prima donnas, not to let the distortions occur.

A play is a parenthesis that contains all the material you think has to be contained for the action of the play. Where do you end that? Where the characters seem to come to a pause... where they seem to want to stop - rather like, I would think, the construction of a piece of music.

A play is fiction and fiction is fact distilled into truth.

Sometimes it's necessary to go a long distance out of the way in order to come back a short distance correctly.

I do think, or rather I sense that there is a relationship - at least in my own work - between a dramatic structure, the form and sound and shape of a play, and the equivalent structure in music. Both deal with sound, of course, and also with idea, theme.