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.

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

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

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.

Catharsis isn’t a wound being excavated from childhood.

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

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.