At early previews, the theater gossips are there, wishing you ill every night. They don’t grant you any slack. Agents are in from Hollywood. Your friends are there. People who are going to spread the word-of-mouth. If something doesn’t work, everyone will know.

You listen to the audience. The audience is wrong individually and always right collectively. If they don’t laugh, it isn’t funny. If they cough, it isn’t interesting. If they walk out, you are in trouble.

When talking about unicorns, minotaurs, or compassionate conservatives, one does not normally have to prove their non-existence; the mere lack of any evidence is sufficient reason not to believe in any of them.

The relationship between an actress and her director is often a very close one.

You listen to the audience. The audience is wrong individually and always right collectively. If they don't laugh, it isn't funny. If they cough, it isn't interesting. If they walk out, you are in trouble.

Belonging to the Dramatists Guild Council where, with my fellow dramatists, I can directly affect (and protect) the professional lives of all American Playwrights has always made me feel that I am returning as much to the theatre as I withdraw. Because only playwrights can ensure the well-being of playwrights. No one else will do it for us.

There are some actresses who cannot function on the set without having a close relationship with their directors. Their way of communicating with the director is through intimacy. It doesn't necessarily have to do with any physical act; it has more to do with achieving a closeness that they find very valuable.

For writers that rehearsal period is death. It is the most destructive thing of all to a script.

The rehearsal period is so far away from the time when the scene will actually be shot that very little is remembered.

There are two kinds of actors: those with one job too few, who have to take every one that comes along, and those with one job too many, who can always turn down the one they don't want.