I see, in women friends, a really dangerous phenomenon where it seems they reach a certain age and become invisible.

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

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

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.

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

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.

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.