I don't know anybody who does what I do. I'm very underground.
If you say city to people, people have no problem thinking of the city as rife with problematic, screwed-up people, but if you say suburbs - and I'm not the first person to say this, it's been said over and over again in literature - there's a sense of normalcy.
I know that I'm inadequate, but I never thought that at seventeen. I thought I was doing the best I could. I thought I was being idealistic.
I provide the bricks and mortar with the words and situations - the director and the actors and the designers build the house.
As soon as the dirt is hitting the casket, it'll all be forgotten.
I'm not a light-hearted person, so I can't think light-hearted at work.
If all I ever wrote about was inner city freaks, I think it would be dishonest.
Ensemble is hard to do. It's like 3-D chess.
For a long time, my shows were about people walking out or about getting my gigs canceled or having the presenter not wanting to pay me.
I love playing other people's work. I love acting.
I started acting when I was in high school, started writing when I got to New York in 1975.
I was definitely surprised when Talk Radio took off as a play. As a film it has become somewhere between a popular thing and a cult thing.
I write my plays to create an excuse for full-tilt acting and performing.
I write, but I also act.
I'm always surprised by things that happen to my work.
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