Theatre is, at its roots, some very brave people mutually consenting to a make believe world, with nothing but language to rest on.

In America I think it's much more full of disruption culturally; it's much more mysterious how we inherit culture here. We grab it where we can find it - we're insatiable - and there can be a sense here that it's not available to you as readily as it is in other cultures.

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.

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 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.

Catharsis isn’t a wound being excavated from childhood.

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