1975 is as much a historical document as 1803.

What I hate about kitchen-sink dramas is [this idea] that the set is real, therefore you're going to be seeing truth. You have to earn truth. Truth can't be a part of the fact that people appear to talk that way and live in that room. You're looking for the poetry in something, and I don't mean poetry in the fancy sense. Naturalism believes by just replicating a thing you give the truth, rather than earning the truth.

And what would be great numbers in a Broadway show are now on stage of the New York City Ballet.

I don't think about taking a risk. I think about how far can I go. How can I make myself. What are the risks I must create.

You can't be a sort of pioneer.

I think that some of these plays are lost in this new horror called development, which is a place for dramaturgs to say "let me tell you what your play means," and the life gets sucked out of a play.

Every play is so important. It's a record of what life was like at the time you wrote that play or that book.