When you know your cast well and their strengths and weaknesses, you can start writing for them, just the way Shakespeare wrote for his actors.

That's the trouble with awards for a body of work. They always come at both a good time and a wrong time. Good because they tell you what you've been doing was worth the doing and wrong because they ought to come when you're young and excited and hungry for assurance that what you're doing is worth the doing.

Two of the hardest words in the language to rhyme are life and love. Of all words!

All the best performers bring to their role something more, something different than what the author put on paper. That's what makes theatre live. That's why it persists.

Sometimes people leave you halfway through the wood. Others may decieve you - you decide what's good. You decide alone, but no one is alone. People make mistakes. Fathers, mothers, people make mistakes, holding to their own, thinking they're alone. Honor their mistakes. Fight for their mistakes. Witches can be right. Giants can be good. You decide what's right. You decide what's good.

They wanted me to be a concert pianist, because I had a very good right hand, but my left hand's terrible and I hated performing.

Every writer I've ever spoken to feels fraudulent in some way or other.