The kind of theater that I do is sort of ‘narrative realism,’ which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.

Gay writers now have both a sense of history and the fables that allows them to dwell in the realms of the ridiculous and at the same time talk seriously about things.

Plays can outlast even the opinions of the chief film critic of The New York Times and that reviews, although they feel devastating in the immediate moment, are not remotely as significant as the significance you endow them with on the day that they appear.

In some ways [the Internet]'s definitely an enemy.

One of the things I learned in 'Slavs!' is that it's much easier to talk about being gay than it is to talk about being a socialist. People are afraid of socialism, and plays that deal with economics are scarier to them.

It has always seemed to me that Barack Obama has studied intensely and learned a great deal from Lincoln.

I make my living now as a screenwriter! Which I’m surprised and horrified to find myself saying, but I don’t think I can support myself as a playwright at this point. I don’t think anybody does.