I do come from a theater background, where the playwright is optimal and king and you have to serve the playwright. So I am, of course, a huge fan of scripted everything.
I think in theater the playwright is king. Those words are unchangeable. They are the reason that everything else flows from.
I think a playwright must be his own dramaturg. I believe in a theater where the director and the playwright work together to create what they need.
I am not a playwright. A playwright would take "Antigone" and hit it a few clouts and knock it out of shape and restructure it. My versioning was strictly verbal.
Do you know what a playwright is? A playwright is someone who lets his guts hang out on the stage.
One is just an interpreter of what the playwright thinks, and therefore the greater the playwright, the more satisfying it is to act in the plays.
Stage is the place of the playwright: you're guided by great actors and directors, but it's the playwright's word on the page that counts.
I am a playwright. I show What I have seen. In the man markets I have seen how men are traded. That I show, I, the playwright.
The biggest inspiration for everything I do is, of course, my wife, playwright Ruth McKee.
Playwrights are naturally wary and protective - God, who's more protective than a playwright? You read a play, the playwright wants to hear from you immediately.
Sometimes we go to a play and after the curtain has been up five minutes we have a sense of being able to settle back in the arms of the playwright. Instinctively we know that the playwright knows his business.
One of the things he liked about playwriting as to any other kind of writing is that a playwright is a w-r-i-g-h-t, not a w-r-i-t-e; in other words, that a playwright is more of a craftsman than an artist of the big novel.
I'm not a playwright; I'm a writer who loves theater.
The economics of theater are painful. I still think that the theater community should be looking much more rigorously at how to let the playwright keep the money they make.
Any actor, any playwright who's worked a life in the theater knows how to do things cheaply and quickly. It's just all by necessity. Invention is everything.
It's a lucky circumstance when you get to usher in new work, because you are able to ask the playwright and the director (who in a new work is always in dialogue with the playwright) an unlimited amount of questions.
My theatrical background was in the great work of the South African playwright Athol Fugard.