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

I don't write political plays in the sense that I'm writing essays that are kind of disguised as plays. I would really defy anyone to watch any of my plays and say 'Well, here's the point.'

The computer, the noise of the computer feels like impatience. It's sort of the sound of impatience to me.

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.

And I don't consider Broadway the acropolis of theatrical art. I mean Broadway is commercial - that's what it is. It's expensive seats and a lot of them that have to be filled every night. Off-Broadway and off-off Broadway as far as I'm concerned is in New York the pride of New York theater.

Justice precedes beauty. Without justice, beauty is impossible, an obscenity. And when beauty has gone, what does a cameraman do with his eye?