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

I don't read a word that's written about me. I don't read my own interviews. I don't read reviews. I think it would drive me insane.

I do think there's a relationship between a book and a reader that's more intimate, in many ways, than the relationship between an audience member and a play - just by the nature of it being an object that you can have in bed with you and that you can keep and page through.

No one likes kids. We say we do, and we take pictures of pregnant women for People Magazine, but really they're commodities - we hate them around, we hate them on airplanes, we consider them a grand imposition and almost a style choice.

Being dead is the most airtight defense of one's own aesthetic.

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

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.