I consider myself a pretty good extemporaneous speaker. Even though I don't like speaking in front of people, I don't think I'm bad at it.
My main interest is in cultivating my company.
I'm not sure plays tell people anything. I think plays include an audience in an experience that is happening in that moment, and that's the specialness. What people take away has almost as much to do with what they bring as what we do.
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.
What I've understood is that to be funny is not my job. To see funny is my job.
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.
Steppenwolf has always been at the center of everything in my professional life.
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.
The one thing that never changes in America is that the white straight male is born with a promise. Women are not promised very much, and we embody our disappointment from the beginning.
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 wish theater criticism in this country could be more of a companion piece to the experience than a warning about where not to spend your money.
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.