You can't kind of take away, you either do or you don't. If you kind of take away something you're a failure.

1975 is as much a historical document as 1803.

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.

Sometimes you have to protect the life of the play. It seems like spelling out mysterious, musical details can destroy a play by making the motivations too clear, too simplex.

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.

Like a dog, a playwright lives in an eternal present and a play is never closed.

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?