I think of the New York City Ballet as the Yankees without George Steinbrenner.

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 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?

James Joyce wrote the definitive work about Dublin while he was living in Switzerland. We're all where we come from. We all have our roots.

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.

The great risk is always saying, "how will I communicate what I'm trying to get across to a room full of strangers sitting in the dark watching a stage?"

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