Ballet is always about the realm of possibilities, the realm of what the human body can do, what the human spirit can do. And it's about listening, it's about listening to remarkable music and how we respond to that.

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 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.

People rewrite the play so much to make it palatable to the audience, to make something clear, that they just deaden it. Like it was left it in the oven too long.

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 cannot write to resonate twenty or thirty or forty years from now. You only can write for that very day, but whatever happens is all gravy.

The rich live hand-to-mouth too-just on a higher level.