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

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 grew up in a small Southern town, and there were white people and black people. Coming to New York to go to Columbia, every time I went into the subway I was absolutely astounded because you see people from all over the world who actually live here - who aren't just here as tourists.

I'm happy that I feel a little less out of place in filmmaking than I once was - but it's almost impossible for a playwright in the U.S. to make a living. You can have a play, like I did with 'Angels,' and it still generates income for me, but it's not enough for me to live on and have health insurance.

A play should have barely been rescued from the mess it might just as easily have been.

You learn that existence is legible but that you have to have a critical mind if you're going to read it.