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.

Some writers' view of things depends upon the success of the final result. I'd rather stand or fall on my own concepts. But there is a fine line to be drawn between pointing up something or distorting it.

You may dislike the intention enormously but your judgment of the artistic merit of the work must not be based on your view of what it's about. The work of art must be judged by how well it succeeds in its intention.

I know playwrights who like to kid themselves into saying that their characters are so well formed that they just take over. They determine the structure of the play. By which is meant, I suspect, only that the unconscious mind has done its work so thoroughly that the play just has to be filtered through the conscious mind. But there's work to be done - and discovery to be made.

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?!

As a playwright, I imagine that in one fashion or another I've been influenced by every single play I've ever experienced.

Good writers define reality; bad ones merely restate it.