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The modern economics of the theater is such that we write plays with fewer and fewer characters.

The economics of theater are painful. I still think that the theater community should be looking much more rigorously at how to let the playwright keep the money they make.

The ideas of the great playwrights are almost always larger than the experiences of even the best actors.

Is the American theatre allowing itself to become irrelevant? The problem isn't that playwrights aren't being paid enough. It's that theatres all over America are looking towards New York to tell them what new plays to do.

The economics of being a playwright are abysmal. I like to think of the work I do out in Hollywood as a way to actually make a life in the theater easier.

Playwriting is the last great bastion of the individual writer. It's exciting precisely because it's where the money isn't. Money goes to safety, to consensus. It's not individualism.

The world is shrinking as we see more and more of it in the media, and the more we see of the world, the smaller we are, the more aware we are of how insignificant any one of us is.

I think plays, like books, are endemic. They grow out of the soil of the writer and the place he's writing about. I think, you just can't move them about, you know.

A playwright who limits himself - or is limited - to a handful of characters is forced to concentrate on the essentials of the situation that he has chosen to portray.

Because kids are physically smaller, there's an assumption by people who haven't read a kids' book for a long time that their ideas and themes and problems and ambitions must be commensurately smaller and less important. I would venture that sometimes the opposite is true.