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.

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.

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.

I'm still learning so much with every play I write. So I wrestle with word choice, rhythm in final drafts. I think you have to be ruthless.

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.