There are no gods here, no ghosts and spirits in America, there are no angels in America, no spiritual past, no racial past, there's only the political, and the decoys and the ploys to maneuver around the inescapable battle of politics.

Broadway remains the closest thing we have to a national theatre, the place where the greatest number of people can potentially see new work. For an American playwright to say it doesn't matter is simply to capitulate to the current situation.

I think that it's worthwhile to explore the ways in which you write the person that's writing your plays as opposed to simply assuming that it's all a natural process and there's no design in it. Because your public persona is designed, to a certain extent, and you can have fun and profit at various times doing that.

Don't be afraid; people are so afraid; don't be afraid to live in the raw wind, naked, alone...Learn at least this: What you are capable of. Let nothing stand in your way.

We all romp about, grieving, wondering, but with rare exception we mostly remain suspended in the Rhetorical Colloidal Forever that agglutinates between Might and Do.

When I used to teach writing, what I would tell my playwriting students is that while you're writing your plays, you're also writing the playwright. You're developing yourself as a persona, as a public persona. It's going to be partly exposed through the writing itself and partly created by all the paraphernalia that attaches itself to writing. But you aren't simply an invisible being or your own private being at work. You're kind of a public figure, as well.

The way you give love is the most profoundly human part of you. When people say it's ugly or a perversion or an abomination, they're attacking the center of your being.