Plays are about understanding what happens, what it means. If we just leaned into the story, for lack of a better word, it would still be a powerful story but, like delight, it might disappear an hour after you saw it.

I think of myself as actually kind of prudish and girly, but I don't know if a lot of other people would see me that way.

I'm getting less and less interested in the problems of youth. I'm much more interested in the idea of emotional paralysis, and I find myself less interested in work that doesn't have anything to do with a conversation about the world.

My main interest is in cultivating my company.

The conversation of how you do a play is my favorite conversation in the whole wide world: what a play is, why it's different than anything else, the math of the way that human behavior has to be calibrated theatrically versus anything else.

I just feel like, for whatever reason, female playwrights don't really ask me to do their plays. Nothing would make me happier than finding the sisterhood, but I can't make them.

If you think there is anything in theater that objectively exists without your point of view attached, you are wrong.

So many of my friends are actors, and so many of them are great, and they're losing jobs to people who have never been in plays before; I understand that sometimes I'm part of the problem. But I'm trying to figure out how to balance it.

What I've understood is that to be funny is not my job. To see funny is my job.

I'm not sure I have a role model per se, but I do deeply admire every woman who raises children and has to walk for water.