When a play enters my consciousness, is already a fairly well-developed fetus. I don't put down a word until the play seems ready to be written.

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.

The greatest problem with Irish Wolfhounds, though, is that they don't live very long: their great hearts give out. A good deal of this is genetic, of course, but I think it is in part that they worry so for us, care so much.

I don't feel that catharsis in a play necessarily takes place during the course of a play. Often it should take place afterward.

Few sensible authors are happy discussing the creative process--it is, after all, black magic.

Maybe it's a little more pertinent now since the whole concept of evolution is being questioned by the know-nothing Republican right. Yes, maybe the play's a little more pertinent now.

Who's Afraid of Virginia Woolf?