The fear of a work becoming dated is one of the most effective tools for keeping people from writing political work.

We can't just stop. We're not rocks-progress, migration, motion is... modernity. It's ANIMATE, it's what living things do. We desire. Even if all we desire is stillness, it's still desire for.

There's a kind of a fundamental irresponsibility in playwriting, and the strength of playwriting comes from that irresponsibility.

One wants to move through life with elegance and grace, blossoming infrequently but with exquisite taste, and perfect timing, like a rare bloom, a zebra orchid... One wants... But one so seldom gets what one wants, does one?

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.

You don't go to the movies to do historical research, unless it's historical research about the movies.