"Almost always when I write, the characters and the story dictate the structure, and I don’t know what it will be until the play tells me what it will be. But I look at it now and it makes all the sense in the world because the whole conversation about race is so disjointed and disconnected, and it’s so hard for us to hold on to it, so it makes sense that a play about something that’s so slippery wouldn’t be in a well-made play structure…"

“The conversation makes me crazy, and I haven’t been in very many places where I have had conversations with people of color who don’t agree with me. It feels like the most dismissive and dangerous shrug-off of a phenomenon that has not gone away; how can you be post-racial in a society proven to have huge economic disparity between races? And attitudinally?...”

“I was trying to write a play about race, in real time — at a time when that topic was shifting more than I’d witnessed in my lifetime. Seismic shifts…”

“I’ve found that there’s this idea of what a black experience is, and because I write what’s outside of what’s been allowed to be on stage, there’s a questioning of authenticity, which is beyond maddening. For a white producer, executive, artistic director to tell me that my work isn’t black enough… I’m losing my mind…”