It was important to me that people know that you can make plays and raise children at the same time - for other mothers, for other parents, for other women considering having children and who want to be working and thinking and contemplating and making things while they're raising children.

I try to interpret how people subjectively experience life. Everyone has a great, horrible opera inside him. I feel that my plays, in a way, are very old-fashioned. They’re pre-Freudian in the sense that the Greeks and Shakespeare worked with similar assumptions. Catharsis isn’t a wound being excavated from childhood.

I would never be essentialist about sexuality and structure, but I do think there's a way in which this male-arc has been talked about as the only structure, and kind of a stand-in for even the word structure, instead of looking at other forms.

I think theatre is a democratic act and I think writing a play is not a democratic act. I think we should give writers more leeway and space to write the thing they want to write, and then we should produce the play, multiple times, and let them re-write it.

A wedding is for daughters and fathers. The mothers all dress up, trying to look like young women. But a wedding is for a father and daughter. They stop being married to each other on that day.

I think you have to have your own expectations of yourself and your own sense of purpose and your own intrinsic pleasure in the task. If you don't, you will drive yourself off a cliff because your fortunes will rise and fall, and if you identify too closely with that, you really will go insane.

Have you ever been so melancholy, that you wanted to fit in the palm of your beloved's hand? And lie there, for fortnights, or decades, or the length of time between stars? In complete silence?