To be honest, it's more fun being the underdog.
Everyone will always have ideas about how to make your work better. Everyone has advice about how to end your play differently. Start it differently. And it's not about right or wrong. At the end of the day, it's your baby, and you know what's best.
Under Todd Haimes' leadership, Roundabout created a black-box theater whose sole mission was to house premieres by writers who are just starting out and have zero name recognition.
I don't go into rehearsal for a production unless I've figured everything out.
'Columbinus' was four years of my life, collaborating with a lot of people and gathering lots of information.
When you're the artsy, weirdo, introverted outsider growing up, you don't fit into your community.
I've always viewed 'Sons of the Prophet' as the first part of a larger trilogy - not three plays dependent on each other but three stand-alone plays connected by theme and, likely, further adventures of the Douaihy family.
My own journey as a writer has been the discovery of different theatrical voices. Chekhov was a revelation. Tennessee Williams was another one. We read 'The Glass Menagerie' in high school, and I still remember the cover.
I had spent four months in Cedar City, Utah, right after graduation as an intern at the Utah Shakespearean Festival. It's a town that has many people living the polygamous lifestyle.
With 'The Humans,' I've found that because it's related to very familiar forms - the family play and the thriller, almost a genre-collison play - some people want it to be one or the other. Either less dark and more of a family comedy or a full-fledged thriller with blood and ghosts jumping out of closets. Everyone's taste is different.