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.

So much of great American drama has been about a certain kind of dysfunctional family, and maybe my interests are in the kind of strange dysfunction that exists even among deeply functional families.

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.

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.

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 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.