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.

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

Sitting down with younger women writers and saying, "This is what I do and you can do this" is hugely important.

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 multivalent culture is an amazing place to be writing theatre.

The director was only invented in the nineteenth century. So directors have only been around for 200 year,s and playwrights have been around since Sophocles and Euripides.

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.