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.

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.

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

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.

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'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.

The best work that I am able to do is when I am willing to write about questions I haven't quite figured out, or things I'm really wrestling with, things that keep me up at night.