I appreciate people who are civil whether they mean it or not. I think: Be civil. Do not cherish your opinion over my feelings. There's a vanity to candor that isn't really worth it. Be kind.
You do think if you have your druthers 'I want to sort of be not anonymous but unknown'. But you don't have your druthers in life do you?
The idea of a rupture between acts occurs in a number of my plays.
People talk about alienation in the city. Diners are a place where you feel comfortable an extension of your house.
A play gets on Broadway by fluke. And you don't even start out with that ambition. When I do a play the intention is just to put it up somewhere.
I want to be a playwright the way people are bank tellers. I want to keep doing it and have it go steadily and smoothly.
The ocean is interacting with the surface. There is a possible biosphere that extends from way below the surface to just above the crust
My usual route is I do a play at South Coast Rep then there's time between and I revise it and then I take it to New York.
For some reason 1968 is a touchstone year for me. I think it was the first year I felt fully conscious.
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.
I like the Mets. I'm interested in the Mets.
I do think the past changes at a slower rate. It sits a little more still for its portrait.
I was formed by 'The Forsyte Saga' marathon. There was something about seeing all those events telescoped that was unbelievably moving: that sense of time as something that can be tinkered with.