Suddenly you're at church and you hear someone pray, "For gays and lesbians, that they might realize their [sins]...." That's happening less and less now, but all it takes is one of those when you're nine, ten, eleven, twelve - and it's hard to describe to people who aren't, because of course if you're not gay, an eleven- or twelve-year-old wouldn't even remember that that happened.

Priests are very interested in theater in New York! It's this lovely reminder that priests are just people, too, who need to be entertained.

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.

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.

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 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.