I suppose, writing a play is finding out what the play is.

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.

I think I sit down to the typewriter when it's time to sit down to the typewriter. That isn't to suggest that when I do finally sit down at the typewriter, and write out my plays with a speed that seems to horrify all my detractors and half of my well-wishers, that there's no work involved. It is hard work, and one is doing all the work oneself.

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].

I said I was impressed, Martha. I'm beside myself with jealousy. What do you want me to do, throw up?

I suppose if you simplify things, it's going to make it easier to understand.

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.