Every Monster Was A Man First.

When You Write A Play, You Make A Set Of Assumptions -- That You Have Something To Say, That You Know How To Say It, That Its Worth Saying, And That Maybe Someone Will Come Along For The Ride.

The Avant-garde Theater Is Fun; It Is Free-wheeling, Bold, Iconoclastic, And Often Wildly, Wildly Funny. If You Will Approach It With Childlike Innocence -- Putting Your Standard Responses Aside, For They Do Not Apply -- If You Will Approach It On Its Own Terms, I Think You Will Be In For A Liberating Surprise. I Think You May No Longer Be Content With Plays That You Can't Remember Halfway Down The Block.

I Do Not Invent Characters. There They Are. That's Who They Are. That's Their Nature. They Talk And They Behave The Way They Want To Behave. I Don't Have A Character Behaving One Way, Then A Point Comes In The Play Where The Person Has To Either Stay Or Leave. If I Had It Plotted That The Person Leaves, Then The Person Leaves. If That's What The Person Wants To Do. I Let The Person Do What The Person Wants Or Has To Do At The Time Of The Event.

You Find Very Few Critics Who Approach Their Job With A Combination Of Information And Enthusiasm And Humility That Makes For A Good Critic. But There Is Nothing Wrong With Critics As Long As People Don't Pay Any Attention To Them. I Mean, Nobody Wants To Put Them Out Of A Job And A Good Critic Is Not Necessarily A Dead Critic. It's Just That People Take What A Critic Says As A Fact Rather Than An Opinion, And You Have To Know Whether The Opinion Of The Critic Is Informed Or Uninformed, Intelligent Of Stupid -- But Most People Don't Take The Trouble.

Writing Has Got To Be An Act Of Discovery. Finding Out Things About What One Is Writing About.