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.

Creativity is magic. Don't examine it too closely.

In rehearsals I get so completely wrapped up with the reality that's occurring on stage that by the time the play has opened I'm not usually quite as aware of the distinctions between what I'd intended and the result. There are many ways of getting the same result.

True, I don't begin with an idea for a play - a thesis, in other words, to construct the play around. But I know a good deal about the nature of the characters. I know a great deal about their environment. And I more or less know what is going to happen in the play.

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 imagine as an axiom you could say that the better the play, the less "creativity" the director need exert.

Your source material is the people you know, not those you don't know, but every character is an extension of the author's own personality.