We're better at predicting events at the edge of the galaxy or inside the nucleus of an atom than whether it'll rain on auntie's garden party three Sundays from now.

We cross our bridges when we come to them and burn them behind us, with nothing to show for our progress except a memory of the smell of smoke, and a presumption that once our eyes watered.

I write scenes - often quite long scenes - mainly because I still get seduced into writing six lines where one and a half will do.

In England the rich own the poor and the men own the women.

When we have found all the mysteries and lost all the meaning, we will be alone, on an empty shore.

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.

Most British playwrights of my generation, as well as younger folks, apparently feel somewhat obliged to Russian literature - and not only those writing for theatres. Russian literature is part of the basic background knowledge for any writer. So there is nothing exceptional in the interest I had towards Russian literature and theatre. Frankly, I couldn't image what a culture would be like without sympathy towards Russian literature and Russia, whether we'd be talking about drama or Djagilev.