Theresa Rebeck Quotes

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I like to write. Prolific is part of who I am.

It's not my responsibility to write plays about the way the world should be.

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I write a lot because, if I don't, I start to panic, and I calm down when I write.

Spielberg read the 'Understudy' and decided that was the voice he wanted to write 'Smash.' He wanted a story that had humanity and humor and high-stakes dreams.

I have admiration for people who can do it well - the guys who wrote 'Cheers' and 'Frasier.' They created sort of a blissful comedic universe.

The stage gives you more control over your own work; in television, there's a distressing amount of communal writing. Unless it's your show, you have no control over that. You're at the mercy of whoever's running the show.

I find a lot of input from other people very stressful.

One thing I won't do in television is a sitcom. I find that world to be so neurotic and bizarre.

I think we have a cultural difficulty with looking at our problems.

I'm not ashamed of being American; I'm very proud.

We have this powerful ideological basis to the country that I don't think any other country in the world quite can brag about. It's a very complicated nation, and it's very fertile.

Why is being a female having an agenda any more than being a misogynist - which David Mamet most certainly is?

I think it's straight men who are oblivious to goodness or badness to dates. That's probably unfair. Maybe they just don't complain as much.

The ridiculous way that workplace politics are conducted completely gets in the way of excellence in America.

I had such a good experience doing 'The Understudy' with the Roundabout, and people were really enthusiastic about the work.

I sincerely believe that for the New York theatre to remain relevant, all our major producing institutions should be presenting new American plays.

A lot of times, I think people feel that new plays are suspect, and actually, I don't know where that came from. I completely disagree with it!

I think new plays are vastly more surprising and challenging and inspiring; I hear from audiences all the time that they are delighted when they see plays about the world we live in now, at this moment.

The audience just doesn't care. They are just as interested in women-centric stories as they are in stories about men.

Everyone pays lip service to this whole idea of doing more new plays, and nobody ever does it.

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