It's much easier to conjure characters strictly from your imagination than to have to think about whether you're representing people in a truthful way.
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I can't quite remember the exact moment when I became obsessed with writing a play about the seemingly endless war in the Democratic Republic of Congo, but I knew that I wanted to somehow tell the stories of the Congolese women caught in the cross-fire.
When you begin a play, you're going to have to spend a lot of time with those characters, so those characters are going to have to be rich enough that you want to take a very long journey with them. That's how I begin thinking about what I want to write about and who I want to write about.
I'm interested in the moments where the audience is restless. I'm interested in the moments where they lean in and become incredibly engaged: the laughter, the silence. All of that is part of how I think about shaping and rewriting the play.
It's much easier to conjure characters strictly from your imagination than to have to think about whether you're representing people in a truthful way.
I see the audience as the final collaborator. I think it's kind of bullshit when people say, "I'm not interested in the audience reaction." I'm like, "Then why do you do theater? You can write a book, then you don't have to see how the audience reacts." It's a living, breathing thing.
In the business of war, the role of women is really to maintain normalcy and ensure that there is cultural continuity.
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