I do think there's a relationship between a book and a reader that's more intimate, in many ways, than the relationship between an audience member and a play - just by the nature of it being an object that you can have in bed with you and that you can keep and page through.
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I think a person has to believe in something, or search out some kind of faith; otherwise life is empty, nothing. How can you live not knowing why the cranes fly, why children are born, why there are stars in the sky... Either you know why you live, or it's all small, unnecessary bits.
Theatre is, at its roots, some very brave people mutually consenting to a make believe world, with nothing but language to rest on.
There's a word in Japanese for being sad in the springtime - a whole word for just being sad - about how pretty the flowers are and how soon they're going to die.
It was important to me that people know that you can make plays and raise children at the same time - for other mothers, for other parents, for other women considering having children and who want to be working and thinking and contemplating and making things while they're raising children.
We all exist in relation to the world, our partners, the human race.
Plays are architecture, and you can make them stand in many ways that are hard to describe. And, I think, in our limited ability to describe them, we've substituted our inarticulateness for saying that there's one and only one structure.
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