Martha: Truth or illusion, George; you don't know the difference. George: No, but we must carry on as though we did. Martha: Amen.

If you want a commercial success - it's the confusion of commerce with art. A successful play is not considered to be the best written. It is the one that sells the most tickets. Those standards are destructive [to theatre].

Progress is a set of assumptions.

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.

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.

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.

Good writers define reality; bad ones merely restate it.