I never had any frustration about writing uncredited. I always felt that the satisfaction of doing it was in the doing of it, really, and getting recognised by the small number of people that know what you did.

When people discuss his plays, he says that he feels like he's standing at customs watching an official ransack his luggage. He cheerfully declares responsibility for a play about two people, and suddenly the officer is finding all manner of exotic contraband like the nature of God and identity, and while he can't deny that they're there, he can't for the life of him remember putting them there. In the end, a play is not the product of an idea; an idea is the product of a play.

I should have the courage of my lack of convictions.

The days of the digitals are numbered. The metaphor is built into them like a self-destruct mechanism.

You can't but know that if you can capture the emotions of the audience as well as their minds, the play will work better, because it's a narrative art form.

I would join Sisyphus in Hades and gladly push my boulder up the slope if only, each time it rolled back down, I were given a line of Aeschylus.

the natural condition is one of insurmountable obstacles on the road to imminent disaster. strangely enough it all works out in the end... it's a mystery.