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.

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.

Each play I write has its own unique origin story.

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 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.

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.

Plays are getting smaller and smaller, not because playwrights minds are shrinking but because of the economics.