There's always the danger that there are so damn many things that a playwright can examine in this society of ours - things that have less to do with his artistic work than have to do with the critical and aesthetic environment - that perhaps he does have to worry about whether or not he is writing too fast. But then also, perhaps he should worry about getting as many plays on as possible before the inevitable ax falls.

There is chaos behind the civility, of course.

American critics are like American universities. They both have dull and half-dead faculties.

One has always got to be terribly careful, since the theater is made up of a whole bunch of prima donnas, not to let the distortions occur.

Every monster was a man first.

There are only two things to write about: life and death.

There are a number of contemporary playwrights whom I admire enormously, but that's not at all the same thing as being influenced.