I came to New York, and it was fascinating and intimidating and yielding, and all the stuff it's supposed to be. But whatever the abstract essence I was seeking, I couldn't find exactly that.

When we watch a play under the standard circumstances, we've lost volition and time is passing. A still play feels like an existential threat.

The idea of a rupture between acts occurs in a number of my plays.

My friends and family have been so well trained that they know I really mean it when I say that I don't care if the review is good, because that can be as dangerous as when it's bad. It's less demoralizing, but it can be just as confusing.