Do you have thoughts about Mr. Mamet’s prohibition?

I think every artist has the right to make those kinds of demands, but it’s not always in the best interests of the theater. We’re all in this together. It’s not artists against theaters. We need to be fighting shoulder to shoulder.

Will Eno (‘Wakey, Wakey’)

Image Credit... Chad Batka for The New York Times

Do you like talkbacks?

I generally like them. You can feel a little naked, as the playwright, but people who have questions or comments probably feel a little naked too.

Your most difficult one?

It was at a first preview in Sydney, Australia. There was an older woman who seemed very, very unhappy and she really let loose. But if the worst of it is someone saying, “I didn’t like your play, I hated your play,” then the worst of it is really not so bad.

Your best?

At “Wakey, Wakey,” a woman said, “I don’t want to say that now I’m not afraid to die, but I’m much less afraid to die.”

Do you stay for other people’s?

I mostly do. We’re all together in the dark seeing and hearing this thing. Occasionally you continue that conversation. Maybe I’m just in a really good mood right now, but I have nothing but fondness for the whole idea, really.

Do you have thoughts about Mr. Mamet’s prohibition?

I don’t know that the market in plays is doing so well that it’s time to start limiting access.