‘The (curious case of the) Watson Intelligence’ (Eliza): “I can’t trust anything anymore”
“You’re too perfect and you’re too imperfect.”
Plays
‘The (curious case of the) Watson Intelligence’ (Eliza and the Learning Curve)
“Anyway it’s not just the sex. It’s that…this guy knows me.”
‘The (curious case of the) Watson Intelligence’ (Merrick and the Bailout of Wall Street)
“I mean look, we’ve all been lulled into a false sense of security, me included.”
‘The (curious case of the) Watson Intelligence’ (Merrick): “I focused all my energy on destroying you”
“I focused all my energy on destroying you so I could free myself from your relentless heartless indifference.”
‘The (curious case of the) Watson Intelligence’ (Merrick): “I was like you. I was you”
“I can be the change I want to see. That one from a bumper sticker on her Volkswagen Jetta.”
‘Reasons to be Pretty’ (Carly)
“I’m very attractive. I am. I’ve always been that way but it’s no great big deal to me—if anything, it’s worked against me for most of my life.”
‘Marion Bridge’ (Agnes)
“In the dream I’m drowning. But I don’t know it at first. At first I hear water and I imagine it’s going to be a lovely dream.”
‘Cocktails at Pam’s’ (Estelle)
“No, I don’t. I hate it. Actually, do you want to know what I really hate?”
‘Crimes of the Heart’ (Babe)
“After I shot Zackery, I put the gun down on the piano bench, and then I went out into the kitchen and made up a pitcher of lemonade.”
‘Proof’ (Catherine)
“I lived with him. I spent my life with him. I fed him. Talked to him. Tried to listen when he talked.”
‘The Glass Menagerie’ (Tom)
“What do you think I’m at? Aren’t I supposed to have any patience to reach the end of, Mother?”
‘The Performers’ (Chuck Wood)
“Oh boy, I promised Black Attack I wouldn’t cry, but . . . I was not expecting this.”
‘Are You Ready?’ (Woman)
“I’m the food critic for the Times, and I’ve been anxious for some time now to get my claws into the throat of that pompous evil weasel of a restaurateur…”
‘Arcadia’ (Valentine)
“If you knew the algorithm and fed it back say ten thousand times, each time there’d be a dot somewhere on the screen.”
‘Oleanna’ (Carol): “The issue here is not what I ‘feel.'”
“The issue here is not what I “feel.” It is not my “feelings,” but the feelings of women. And men.”
‘Oleanna’ (Carol): “Why do you hate me?”
“Why do you hate me? Because you think me wrong? No. Because I have, you think, power over you.”
‘In the Next Room’ (Catherine Givings)
“Do you want more children, Elizabeth? That is a tactless question, you don’t need to answer, forgive me, sometimes I say whatever is in my head.”
