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.

You want to dance with me, angel tits?

If I've been accused a number of times of writing plays where the endings are ambivalent, indeed, that's the way I find life.

When you're dealing with a symbol in a realistic play, it is also a realistic fact. You must expect the audience's mind to work on both levels, symbolically and realistically. But we're trained so much in pure, realistic theater that it's difficult for us to handle things on two levels at the same time.

I find that when my plays are going well, they seem to resemble pieces of music. But if I had to go into specifics about it, I wouldn't be able to. It's merely something that I feel.

The arts are the only things that separate us from the other animals. The arts are not decorative. ... They are essential to our comprehension of consciousness and ourselves.

You...you've been here quite a long time, haven't you?" What? Oh...yes. Ever since I married What's-her-name. Uh, Martha. Even before that. Forever. Dashed hopes, and good intentions. Good, better, best, bested. How do you like that for a declension, young man?