I always say, or have said in the past, that ninety-nine and forty-four-hundredths of the audience does not pay any attention to the lighting, but one hundred percent is affected by it.

There is a way to support the art and to allow and encourage the art to flourish while being critical. In fact, I find in teaching that self-critique is one of the best ways to have your art grow, but if you start tearing yourself down then, it's not going to go anywhere. I feel the same about critics. I feel that's happening all too often.

I feel also that the rhythm of a production is made by the lighting. If it feels like it's too long and too slow, it may well be because the light is changing in a way that makes the audience feel that way. Definitely I feel that light and music are very closely related.

After years and years of accumulating papers, I keep feeling that I should give them to the library or something because they are beginning to overwhelm me.

I know too many playwrights, or would-be playwrights, or would-have-been playwrights, that are around my age, who were bitter or have gone to something else because they got such a raw deal from critics, and some are quite wonderful writers.

I believe in the hand-brain, pencil-to-paper-brain connection. In fact, I teach and I have the first year students do all of their drafting by hand to remind them that there is this physical connection between the two.

I've often called the lighting for the stage the "music for the eye", because it has the same way of making an atmosphere, making a landscape, changing fluidly from one place to another without seeming effort.