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.

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.

As playwrights, as poets, we have to look to ourselves, listen to our guts for the final answers about what changes to make. Everyone has advice about how to end your play differently. And it's not about right or wrong. At the end of the day, it's your baby and you know what's best.

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 guess we all feel like underdogs. I remember being a freshman at Brown University and not knowing what a WASP was. We were reading an Edward Albee play, and - it was just a moment of accepting, certainly that I wasn't very worldly, but also that a lot of the plays that I'd been reading, let's say other kinds of family plays, were speaking a foreign language.