Only about 12 people will be able to see Afterclap per performance.

Says O’Harra, “Just go to Barnes and Noble and look…the number of plays by women is minuscule compared to those by men.”

How many ways can you write, “I didn’t see which way he went?” It’s in the character’s background where you achieve specificity.

The Shelby Company will lose money no matter what, says Moyer, so why not mount work that excites them?

The stress of college, being passed over for a lead in the school play, the frightening new world of cyber-bullying.

When push comes to shove, what is more important, one’s family and oneself?

The goal of “reprogamming” homosexuals, says the playwright-director, is shameful.

Set aside about 35% of expected profit for taxes in a separate bank account and pay estimated taxes on time. This will avoid much suffering.

“I thought life was really like those movies where the handyman shows up and is immediately seduced by the housewife.”

When the soldiers were ordered to shoot, they’d aim high or the artillery crews would deliberately drop shells into no-man’s-land instead of on the enemy.

“Who doesn’t want to be mysterious?” asks the actor playing Durang’s version of Scrooge.

“Someone asked me if I have a sexual thing for Santa Claus,” says Solomon. “And the answer is NO.”

“…the worst thing a writer writing about sexual discovery could do is underestimate how dirty kids can be.”

“What is it like being dead?,” writes Sartre from beyond the grave. “The same as before I was born.”

Says McCaskill, “I’m at an age when sleeping with someone means you actually go to sleep.”

It shows great strength to not bang your head against the wall, but come to it with fresh eyes, as if you have all the time in the world.

A producer pulled Harcum aside after an invited dress rehearsal and told him to be more egotistical and self-involved.

The characters in Children at Play, Seavey says, “discover masturbation for the first time in a very big, very public way.” He hopes most of us avoided that fate.

The children of the ’60s, Schulenberg says, “reinvented themselves…or were simply too busy leading their lives to try to make the world better.”

“What gets me going,” says 59E59 Theaters’ executive director, “is a play with universality, regardless of where the play is set or where it comes from.”

Prepping to play Mrs. Cole Porter, Holland considers life behind a songwriting genius.

“Sometimes I wonder if I am entering the doctor’s office or Bemelman’s Bar,” Rak says.

Expressionism “fills in the gap between theater and film,” says Thompson. “It’s an old idea combining text and visuals in increasingly dynamic ways.”

“My approach,” says Parker, is walking the line “between achieving the goals of the playwright and hitting the audience on the head.”

“Something a straight man might assume…might seem ridiculous to a gay man or vice versa,” says Steve Hayes.

Are the ideals of the Bauhaus alive and well today? Or have they been concealed, co-opted, and Ikea-d to death?

“I feel close enough to the Nazi women,” says playwright Shirley Lauro, “to grasp them emotionally and to grasp instinctively why they became who they became.”

She has no interest in “run-of-the-mill drag impersonations” like Barbra, Judy and Cher. That’s why Mimi Imfurst does Anne Frank, Jon Benet Ramsey, Anna Nicole Smith, Terri Schiavo and the Virgin Mary.

Skillman loves when she’s off to a reading of a play she’s written and people ask, as if to confirm, “So, you read all the parts yourself, right?”

There were professional performers on her mother’s side, says actress Catherine Wolf. On her father’s side, there were sail makers, lobsterman, boat builders and painters.

If she could pick her dream shoes, says Jaycee Macapugay, playing the title role in the musical Imelda, it would be Christian Louboutin, Gucci and Dolce & Gabbana.

The vulnerability in Dickinson’s poetry is “like watching an actor drop lines on stage and then seeing the terrifying honesty that inevitably follows.”

I’m a big believer in starting with how a character is similar to you… I do get nervous, though, when people say “transform.” I mean, into what?

“I went back and watched the Kill Bill movies,” she says, “as I believe they are a beautiful representation of horrible vengeance-related murders that somehow have you rooting for the killer.”

When you hit your 30s, you start to think, Huh, there is actually going to be some kind of future ahead of me and perhaps I can, in some small way, define it.

Oskar Eustis and Suzan-Lori Parks are the kind of people that if you sent them an email or called them up, they would answer.

I just heard a young father say to his daughter, “Look kiddo, here’s the Backyart sign,” and then they chanted “Backyart! Backyart!” together.

With Wall Street crumbling, it seemed like a perfect time to delve in.

How do we handle vampiric personalities, especially when they exist within us?

The real evil is not necessarily the one you see coming from miles away, but…the one you don’t even notice. Nazis were not over-the-top evil from day one.

“Yes,” says Rob Sedgwick, “I am very deranged.” No argument here.

Members of the creative team behind the twice-extended Thank You For Being a Friend talk about parody laws and Estelle Getty’s hemorrhoids.

Stephen Adly Guirgis challenged actor Michael Puzzo to “try his hand” at playwriting, like a “game of one on one.”

It makes him laugh how obsessed some people are with other people’s relationships — as if they have a right to dictate what a real marriage should be.

Merman leaves the stage, goes into the audience and touches someone, drags someone out to the gutter? Really?