It is the destiny of the theater nearly everywhere and in every period to struggle even when it is flourishing.

Surely no other American institution is so bound around and tightened up by rules, strictures, adages, and superstitions as the Broadway theatre.

A good many inconveniences attend playgoing in any large city, but the greatest of them is usually the play itself.

The theater needs continual reminders that there is nothing more debasing than the work of those who do well what is not worth doing at all.

A talent for drama is not a talent for writing, but is an ability to articulate human relationships.

A dramatist is one who from his earliest years has found that sheer gazing at the shocks and counter-shocks among people is quite sufficiently engrossing without having to encase it in comment.

On the stage it is always now; the personages are standing on that razor-edge, between the past and the future, which is the essential character of conscious being.

The unencumbered stage encourages the truth operative in everyone. The less seen, the more heard. The eye is the enemy of the ear in real drama.

We live in what is, but we find a thousand ways not to face it. Great theater strengthens our faculty to face it.

Some mystery should be left in the revelation of character in a play, just as a great deal of mystery is always left in the revelation of character in life, even in ones own character to himself.