As I ramble through life, whatever be my goal, I will unfortunately always keep my eye upon the doughnut and not upon the whole.

One of the things about what . . . I do - writing plays - is that a poll is not taken before you say, Well, I'm going to write this because I think that you're going to like this and therefore you'll buy a ticket for this.

I thought I would write something that would make some people uncomfortable. . . . What intrigued me, I think, was the idea of women of my own generation who were successful, intelligent, coming to power and suddenly in the public arena. I started to think about what they are allowed and what they are not allowed.

I wrote my first play, Uncommon Women and Others, in the hopes of seeing an all-female curtain call in the basement of the Yale School of Drama. A man in the audience stood up during a post show discussion and announced, “I can't get into this, it's all about girls.” I thought to myself, “Well, I've been getting in to Hamlet and Laurence of Arabia my whole life, so you better start trying.”

Work is a way of shutting out ambiguous sentiment.

anyone who writes plays is unbelievably persistent, because there isn't a need in the world for plays. Somehow you internally have to feel a need to write a play.

Being a grownup means assuming responsibility for yourself, for your children, and - here's the big curve - for your parents.