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

I'm interested in the moments where the audience is restless. I'm interested in the moments where they lean in and become incredibly engaged: the laughter, the silence. All of that is part of how I think about shaping and rewriting the play.

I feel it's my social responsibility to shine a light on areas that don't get seen. My personal feeling is that it's an artist's responsibility to be engaged with the culture. And when the culture is going through turmoil, I think an artist can't ignore that. I don't feel that every artist has to be politically engaged, but I can't imagine that you can be an active participant of this culture and not in some way reflect that in the work you are creating.

I want the audience, when they leave, to think of the characters on the stage in three dimensions. I want them to have empathy. I also want them to think about engaging more with where we are culturally.

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.

I need a release from whatever I'm writing.

I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices, you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.