"The thing that drew me to Forster most specifically, I think, looking back on it, was I was picking up on what I would call 'the vibrations’…And 'the vibrations' were a closeted gay man in the early 20th century, at that time, speaking to a closeted gay boy at the end of the 20th century."

“I can never predict what is going to capture my interest and draw me to create. I think it comes primarily from curiosity. I like to play the “what if” game with subjects. “What if slaves owned by Jewish families adopted that religion?” “What if a family living in the proposed footprint of Lincoln Center in 1959 were completely devoted to Jerome Robbins and his work?” “What if a straight guy became a drag queen?” That leads to the next important question of “why?” And then “who?” And so on.”

“There is also the inheritance to younger gay men, of the generation that is coming up right now, of a responsibility and a debt to the generation that came before them…The generation that fought tirelessly to be able to walk down the street and hold your partner's hand, to kiss your husband in public, to get married, to just truly be accepted for being who you are and loving who you love.”

“A lot of people want to tell me their stories, and it’s not just the people who were alive back then. Though the play deals with AIDS, it’s about more than just the epidemic. It deals with things that plague gay men now. It’s very much about addiction, too. And the audience’s experiences run the gamut. And these audiences feel emboldened in the best way possible to not keep secrets. And they feel like they trust us enough to tell us their stories. It’s a beautiful thing.”