"There are so many expectations from audiences of Neil Simon plays and it can be daunting for any director to do justice to his work, given he has won numerous Oscar and Tony Awards over his 40-year career. With Rose and Walsh, we need to show the humour without trivialising the content Walsh isn't a ghost but a product of Rose's vivid imagination as she deals with her love of Walsh and grief at his passing."
"Our own personal grief can sometimes consume us and we fail to notice the effect this has on those around us. Simon handles the mixture of humour and grief with great skill, comic writing and much sensitivity."
"I don't wear my feelings outwardly because I get in trouble one way or the other if I let the emotions come out. Sometimes I can't put a cap on them and go too far. If I allowed myself to speak the way some of my characters do in the plays, I'd be going to the mat all the time.
"What I would like to say and what I would like to be, however, can come out in the work. I may not be as overtly romantic as Richard Dreyfuss was in The Goodbye Girl, for example. Still, I wrote it. I thought of those things to say. So I know that's part of me. And how much difference is there between what you think and what you actually do? At one point a censor intervenes. But I have permission to do all these things on the stage and so I take advantage of it. I can be stark naked up there on the stage, as long as I'm standing in the back of the house."
Dying at age 91 in 2018, an obituary in The Guardian quoted Simon as saying: " I can never complain about my career in the theatre. I've had a great time," he said. "[Writing] works out all my problems. Even if the play doesn't deal with what you're going through in your life, there's something cathartic about it."