There's no American playwright after 1945 who wasn't profoundly affected - who didn't have their DNA changed by Tennessee Williams.

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

The life of a dancer is tragically short. What is remarkable about the New York City Ballet is that it makes us forget that. Because it keeps the ballet alive.

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 read somewhere that everybody on this planet is separated by only six other people. Six degrees of separation between us and everyone else on this planet. The President of the United States, a gondolier in Venice, just fill in the names. I find it extremely comforting that we're so close. I also find it like Chinese water torture, that we're so close because you have to find the right six people to make the right connection... I am bound, you are bound, to everyone on this planet by a trail of six people.

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?"

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.