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What really happened was one day I decided to write a new kind of play.

I find directing more satisfying.

Sometimes it's learning how the play wants to function rather than imposing something on it. For me, that's the thrill in directing.

I've seen plays that are, objectively, total messes that move me in ways that their tidier brethren do not. That's the romantic mystery of great theater. Translating this ineffability into printable prose is a challenge that can never be fully met.

Plays are so much more special if they've never ever had a production, but I think you can really work on a play and make it better with each production.

Plays are not written but rewritten, and much of the rewriting takes place at the behest of the director, whose job it is to grapple with the myriad complexities of moving a play from the page to the stage.

I hoped the dramatic power of the play would rest on that tension between elegant structure - the underlying plan is that you see the first and last meeting of every couple in the play - and inelegant emotion.

I write plays about big, intense subjects.

The great fun of doing new plays is that people have no idea what's going to happen next. That goes quite soon, as people start talking about it, and the only way you can keep hold of that is genuinely to keep changing it.