Asylum has had such a wonderful life of productions around the world, starting with the original run, multiple runs in NYC, and being performed in every state in the U.S. It began life as a shorter version called Voices and Other Disturbances and, after its initial run in NYC, I expanded it to the version that exists today (with a few additional adjustments in recent years to reflect societal advances in technology).

It is intense, emotional, and requires a commitment to dive into the characters and play them fully and realistically. There are plenty of funny moments that give the audience a chance to breathe and laugh and relax, before the next emotional wallop hits them.

It's hard to believe that some experiences in my own life could inspire characters that have been embraced so powerfully by actors of all ages around the world. While doing a script-signing event at Drama Book Shop in NYC, I met an actor who saw a production of Asylum in South Africa and returned to her native Tanzania and decided to become an actor and move to NYC to study acting. I've met hundreds of actors who have been inspired by being in a production of Asylum or having seen a production at a competition or festival. I'm boundlessly grateful for the impact that Asylum has had on a generation of actors.

As is true with much of my work, directors should remember that when actors are addressing the audience, the audience is their scene partner. They're not speaking to the other characters onstage. And they should trust that the text will take the audience on the journey, so keep production elements simple.