Oh god, I'd just hate it if a certain dramaturg got a hold of a Pinter play, for example, which are all mystery and all music. That's how the life get's sucked out of plays.

All the New York City Ballet does is hit beautiful home runs.

It's amazing how a little tomorrow can make up for a whole lot of yesterday.

I'm an American playwright. Tennessee Williams got in all our DNA.

New Orleans was a thrilling place of all kinds of races, it was a dangerous place. It was really and truly the only international city on the continent of North America. There were all different races and everything was celebrated, and it was a place of difference, and everybody was different and it was so odd, the minute that America took over, the minute that the Louisiana territory became part of the United States of America, instantly you were either black or white. There was no nuance. and so a free man of color who could own property was suddenly not allowed to.

You don't push the button that says "Now I will write something that resonates in time." You don't know. It's what happens after a play is finished.

I am the same artist with the same nagging questions I had in my early 20's. What's real and what isn't? How do we tell what's real in our lives? How do we see things as they are? What is my role in life? If the Signature hadn't forced the issue by devoting its season to my plays, I could at least believe I had changed. Really, they're all the same! What is SIX DEGREES OF SEPARATION but THE HOUSE OF BLUE LEAVES with money?