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Because I'm an American woman, and I write straight plays, it's always been sort of assumed I would never be done on Broadway. But that was never the goal.

When I first started, as long as you were a bit brown, you could play any kind of ethnic anything. Now it's much more localised and specific. I feel like a wise old woman looking back on the evolution of how much more sophisticated audiences are.

I realized with Broadway everything written for black people is usually written in the past, and I'm kind of a contemporary guy. I don't think you want to see me in 'Raisin in the Sun'.

I grew up doing theatre and spent a long time as a playwright. I still think very visually when I write.

Broadway, in my opinion, is a microcosm of America. Those challenges that we have in our country, I think we still have those challenges on the Broadway stage. I think there are far too few African-American directors working on Broadway.

I'm not a playwright; I'm a writer who loves theater.

My style is an extension of acting and an outcome of some serious lessons I picked up learning when I did theatre in my early days.

I'm a playwright who gets involved in movies when I'm not writing a play.

I enjoy all forms of writing, but playwrighting is what made me what I am. Not only working with the ghosts of Chekhov and Ibsen and Shakespeare, but what it is to be a playwright, to be interacting with human beings in the live theater and affect people on such a direct, emotional level.

I'm not a writer; I'm an actor. My job is to take whatever character I'm given and - especially because I have the responsibility of being a black actress, and I know young black girls are looking up, and everyone's looking to what's on television - to just try to give whatever character I'm playing as three-dimensional a portrayal as I can.