Remember one thing about democracy. We can have anything we want and at the same time, we always end up with exactly what we deserve.

I discover that I am thinking about a play, which is the first awareness I have that a new play is forming. When I'm aware of the play forming in my head, it's already at a certain degree in development.

Everybody wants to go see the big hit [at the theatre]. Not because it's any good. Because it's the big hit and everybody wants to be able to talk about the big hit.

I usually think about a play anywhere from six months to a year and a half before I sit down to write it out.

A lot of people are confused by "hello." A lot of people are confused by a lot of things they shouldn't be confused by.

In the thirties a whole school of criticism bogged down intellectually in those agitprop, social-realistic days. A play had to be progressive. A number of plays by playwrights who were thought very highly of then - they were very bad playwrights - were highly praised because their themes were intellectually and politically proper. This intellectual morass is very dangerous, it seems to me. A form of censorship.

When a critic sets himself up as an arbiter of morality, a judge of the matter and not the manner of a work, he is no longer a critic; he is a censor.