Well, when I was six years old I decided, not that I was going to be, but with my usual modesty, that I was a writer.

I don't pay much attention to how the plays relate thematically to each other. I think that's very dangerous to do, because in the theater one is self-conscious enough without planning ahead or wondering about the thematic relation from one play to the next. One hopes that one is developing, and writing interestingly, and that's where it should end, I think.

Naturally, no writer who's any good at all would sit down and put a sheet of paper in a typewriter and start typing a play unless he knew what he was writing about.

A playwright, especially a playwright whose work deals very directly with an audience, perhaps he should pay some attention to the nature of the audience response - not necessarily to learn anything about his craft, but as often as not merely to find out about the temper of the time, what is being tolerated, what is being permitted.

You want to dance with me, angel tits?

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.

All plays are social comment to one extent or another.