Unlike the women playwrights who have most changed the contemporary American stage—Adrienne Kennedy, María Irene Fornés, Alice Childress, and Suzan-Lori Parks come immediately to mind—Baker has produced only one play about a woman’s life, and it was a one-act comedy, a relative trifle compared with her other work. I think of my plays as incredibly political, but I have no interest in trying to convince anyone of anything.”In both her cagey explications and the beguiling ambiguity of the narratives, she reminds me of Harold Pinter, and of Edward Albee, who, when asked what his play was about, liked to reply: “about two hours.” In Baker’s The Antipodes, we never find out what the business meetings are about, and, in John, a character’s climactic speech of apparent revelation can be interpreted as a fantasy or lie. Among her works are the Shirley, Vermont plays, which take place in the fictional town of Shirley: Circle Mirror Transformation, Body Awareness, and The Aliens. There’s also Mertis’ husband, suffering from an unknown illness and remaining unseen and unheard throughout the play.
The sitting-room shelves are lined with dolls and miniature houses, all lit up invitingly; in the dining room, which she calls Paris, the tablecloths are white and lacy. “The specifics are, of course, a collaboration with designers and directors, but for me, excitement about a potential set comes before excitement about character, or dialogue, or story.”Baker is co-directing the National production of The Antipodes with its designer, Chloe Lamford. Mertis, on the other hand, pushes past her own concerns, including a sick husband, to look forward. But, with the exception of Hello, Dolly!, I don’t get commercial theatre.”One thing that frustrates her detractors but excites her admirers is her defiance of generic categories. By not rushing things—by letting the characters develop as gradually and inevitably as rain or snowfall—Baker returns us to the naturalistic but soulful theatre that many of her contemporaries and near-contemporaries have disavowed in their rush to be “postmodern.”The bed-and-breakfast where the couple are staying is run by Mertis Katherine Graven (Georgia Engel), a seventy-two-year-old baby-voiced blonde. It was similar to Sarah DeLappe's The Wolves' with multiple conversations taking place. She was named a … Complimentary and Deeply Discounted ShowsRobinette is superb as Mertis, a woman who is deeply moved when she sees the psychological pain Elias inflicts on his partner. And also one of the weirdest. The Flick premiered Off-Broadway at Playwrights Horizons in 2013.
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