In the two or three or four months that it takes me to write a play, I find that the reality of the play is a great deal more alive for me than what passes for reality. I'm infinitely more involved in the reality of the characters and their situation than I am in everyday life. The involvement is terribly intense.

All serious art is being destroyed by commerce. Most people don't want art to be disturbing. They want it to be escapist. I don't think art should be escapist. That's a waste of time.

Musical beds is the faculty sport around here.

The act of writing is an act of optimism. You would not take the trouble to do it if you felt that it didn't matter.

If a man writes a brilliant enough play in praise of something that is universally loathed, the play, if it is good and well enough written, should not be knocked down because of its approach to its subject.

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 don't pay much attention to how the plays relate thematically to each other. I think that's very dangerous to do, because in the theater one is self-conscious enough without planning ahead or wondering about the thematic relation from one play to the next. One hopes that one is developing, and writing interestingly, and that's where it should end, I think.