I do think it's fascinating to see a play where everybody's sort of, in various ways, uprooted, and you see the older generation, the parents, whose faith has been something concrete that has guided them through a specific set of hurdles and circumstances.

I know how much respect I have for people of all different faiths, but especially for my family, who are the most important people in my life, and who are still practicing, and deeply religious.

In reality, life was arranged and human relations were complicated so utterly beyond all understanding that when one thought about it one felt uncanny and one's heart sank.

Everyone's taste is different. But I think the best way to defend against regrets after opening night is to try your best to tell the story you want to tell. In terms of smaller changes over time, I think good plays are like poems. Every syllable counts.

There's this unspoken history that exists between any mother and daughter, no matter how deep and loving the bond is, twenty-five years of being raised by someone, there's a kind of deep history which means that there are shortcuts to getting on each other's nerves.

Writing plays for me is often an act of looking at basement-level fears in terms of where they come from.

I'm always very self-conscious and assume the way faith or religion might come up in my plays will seem very harsh to people of faith, or who are currently practicing.