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

Each play I write has its own unique origin story.

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.

In the business of war, the role of women is really to maintain normalcy and ensure that there is cultural continuity.

If you lead with the anger, it will turn off the audience. And what I want is the audience to engage with the material and to listen and then to ask questions. I think that 'Ruined' was very successful at doing that.

I was repeatedly told that there isn't an African American woman who can open a show on Broadway. I said, 'Well, how do we know? How do we know if we don't do it?' I said, 'I think you're wrong.'

Hopefully this is going to be a trend, the beginning of a movement to reclaim theater for the artist and not commerce. I think there's a level of fatigue. Artists are tired of having to create work that's then coopted by commercial demands. When you begin souping up the car, the car no longer feels like your own.