Eugene O'Neil created an American theater, and Tennessee Williams taught it how to sing.

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?"

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.

What we're dealt with hopefully is two arms, two eyes, two legs, a head, a heart. The variations, the extensions, the possibilities of the human body, what that can do

We're all where we come from. We all have our roots.

All the New York City Ballet does is hit beautiful home runs.

Avoiding humiliation is the core of tragedy and comedy.