A multivalent culture is an amazing place to be writing theatre.

We all exist in relation to the world, our partners, the human race.

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.

It's a privilege to have kids and not live your life in solitude. But we live in a child-hating culture.

What I really value about being a writer is that I can go to rehearsal when I want to, and then, when I need to be at home writing or with my kids, I go home.

Plays are architecture, and you can make them stand in many ways that are hard to describe. And, I think, in our limited ability to describe them, we've substituted our inarticulateness for saying that there's one and only one structure.

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.