Just because it’s a unique perspective doesn’t mean it can’t offer something universal.

It's much easier to conjure characters strictly from your imagination than to have to think about whether you're representing people in a truthful way.

When the play is still evolving I try to be at rehearsal as often as possible, and part of that casting process. You find new things when the language is living in different people's mouths.

I see the audience as the final collaborator. I think it's kind of bullshit when people say, "I'm not interested in the audience reaction." I'm like, "Then why do you do theater? You can write a book, then you don't have to see how the audience reacts." It's a living, breathing thing.

Just because it’s a unique perspective doesn’t mean it can’t offer something universal.

When you begin a play, you're going to have to spend a lot of time with those characters, so those characters are going to have to be rich enough that you want to take a very long journey with them. That's how I begin thinking about what I want to write about and who I want to write about.

A play that forces us to question our moral responsibility to the victims of human rights abuse.