A play centering on the tensions between a political demagogue and the tailor who makes his suit In his Upper East Side atelier, a bespoke tailor, Anselm Kassar, is persuaded by the vulgar real estate mogul turned presidential candidate Kurt Seaman to make him the perfect suit. A suit to “stun them” at the final debate before the election, a suit for him to wear while he takes on his unnamed female opponent. Kassar agrees to make Seaman a suit with magical powers of persuasion, to allow him to “close the deal with the American people.” Over the course of three fittings for this exorbitantly expensive and totemic vicuña suit, Seaman cajoles and spars with the tailor and his young Muslim apprentice, Amir. Amir’s challenges to Seaman and Seaman’s daughter Srilanka over the dangerously xenophobic and inflammatory rhetoric coming out of the campaign make the fittings increasingly volatile in the genteel atelier. Vulnerabilities are exploited masterfully by the candidate, in the manner of a true sociopath with a perfect instinct for other people’s weaknesses. Coming out of an election season that laid bare the rage in much of America, Jon Robin Baitz’s Vicuña is an astute satire of what—or who—it takes to bring those anxieties to the fore.
Two searing, incisive plays from Jon Robin Baitz, Tony Award nominee and two-time Pulitzer Prize finalist. Allie Murchow, a retired Hollywood makeup artist, is stuck inside her apartment, stuck in her daydreams of bygone celebrity and glamour, and stuck on hold with her pharmacist. She tries to make sense of the Los Angeles outside her windows, the LA of 2020, but she can’t hear herself think over the echo of sirens and her chatty brother’s interjections. I’ll Be Seein’ Ya, written by Jon Robin Baitz, the author of Other Desert Cities and Vicuña, is an unflinchingly funny new play that takes on our anxieties and delusions and reveals new truths about our strange reality. In The Insolvencies, two men—one younger, one older, one a professor, one a former student—recall their relationship and the time they felt “the piercing sting of simply being seen.” A study of sex and pleasure, of justice and shame, this short, stirring play completes the affecting pair of new works from Baitz, “the American theatre’s most fascinating playwright of conscience” (Michael Kuchwara, Associated Press).
THE STORY: Ibsen's most beguiling antiheroine is given a new twist in Jon Robin Baitz's acclaimed adaptation of HEDDA GABLER: She's no longer the chilly, inscrutable manipulator but a woman with, as the New York Times put it, a context and
Called a cunning and elegant play . . . with] deft story-telling (John Lahr, The New Yorker), Ten Unknowns, John Robin Baitz's latest work, is an explosive drama about art -- and what happens when it becomes commerce.Malcolm Raphelson is a painter who was at the top of the art world -- until the critical vogue turned from realism to the abstract expressionist work of others. He has been in self-imposed exile in Mexico for decades, until dealer Trevor Fabricant decides it's time for a retrospective. Trevor sends Judd, a talented and tormented young painter, to serve as Malcolm's assistant and unofficial minder. When they are joined by a beautiful young student, their tense equilibrium is upset. In Ten Unknowns, Baitz portrays, in the words of Linda Winer of Newsday, a world conflicted with questions about the tyranny of art fashion and quality, about the benefits and blind spots in the outsider sensibility, about the warring American impulses for good and for meddling.
THE STORY: Brooke Wyeth returns home to Palm Springs after a six-year absence to celebrate Christmas with her parents, her brother, and her aunt. Brooke announces that she is about to publish a memoir dredging up a pivotal and tragic event in the f
Marked by the aching articulation, scathing wit and deep convictions of a mature artist with a complete vision."--Frank Rich, The New York Times "If Arthur Miller had married Noel Coward, their son would have been Robbie Baitz." --André Bishop, from the Preface Jon Rubin Baitz startled the theatrical world with the 1985 debut of The Film Society. A frank examination of the controlling forces behind a nearly bankrupt private school for boys in South Africa, The Film Society introduced a young playwright with an extraordinarily mature grasp of people, language and society. Baitz's recent works have fulfilled his early promise and enhanced his reputation. In The Substance of Fire (1991), a fiercely intellectual New York publisher struggles with his children for control of his business, and with the relentless pride which has made him previous to love. In The End of the Day (1992), an expatriate British doctor adapts to America by abandoning his ideals and succumbing to the twin lures of status and crime. About the Author: Jon Robin Baitz is the author of Three Hotels, The Film Society, Other Desert Cities, The End of the Day, and The Substance of Fire, which he adapted into a major motion picture. He was the showrunner on ABC’s Brothers & Sisters. He also wrote the screenplay for the upcoming film Stonewall directed by Roland Emmerich. He lives in New York.
THE STORY: Wall Street powerhouse Sandy Sonnenberg finds his personal and professional life threatened by the unraveling secrets of his past. A tragic game of financial and moral betrayal is played out over four decades and between two friends at t
Marked by the aching articulation, scathing wit and deep convictions of a mature artist with a complete vision."--Frank Rich, The New York Times "If Arthur Miller had married Noel Coward, their son would have been Robbie Baitz." --André Bishop, from the Preface Jon Rubin Baitz startled the theatrical world with the 1985 debut of The Film Society. A frank examination of the controlling forces behind a nearly bankrupt private school for boys in South Africa, The Film Society introduced a young playwright with an extraordinarily mature grasp of people, language and society. Baitz's recent works have fulfilled his early promise and enhanced his reputation. In The Substance of Fire (1991), a fiercely intellectual New York publisher struggles with his children for control of his business, and with the relentless pride which has made him previous to love. In The End of the Day (1992), an expatriate British doctor adapts to America by abandoning his ideals and succumbing to the twin lures of status and crime. About the Author: Jon Robin Baitz is the author of Three Hotels, The Film Society, Other Desert Cities, The End of the Day, and The Substance of Fire, which he adapted into a major motion picture. He was the showrunner on ABC’s Brothers & Sisters. He also wrote the screenplay for the upcoming film Stonewall directed by Roland Emmerich. He lives in New York.
A play centering on the tensions between a political demagogue and the tailor who makes his suit In his Upper East Side atelier, a bespoke tailor, Anselm Kassar, is persuaded by the vulgar real estate mogul turned presidential candidate Kurt Seaman to make him the perfect suit. A suit to “stun them” at the final debate before the election, a suit for him to wear while he takes on his unnamed female opponent. Kassar agrees to make Seaman a suit with magical powers of persuasion, to allow him to “close the deal with the American people.” Over the course of three fittings for this exorbitantly expensive and totemic vicuña suit, Seaman cajoles and spars with the tailor and his young Muslim apprentice, Amir. Amir’s challenges to Seaman and Seaman’s daughter Srilanka over the dangerously xenophobic and inflammatory rhetoric coming out of the campaign make the fittings increasingly volatile in the genteel atelier. Vulnerabilities are exploited masterfully by the candidate, in the manner of a true sociopath with a perfect instinct for other people’s weaknesses. Coming out of an election season that laid bare the rage in much of America, Jon Robin Baitz’s Vicuña is an astute satire of what—or who—it takes to bring those anxieties to the fore.
Two searing, incisive plays from Jon Robin Baitz, Tony Award nominee and two-time Pulitzer Prize finalist. Allie Murchow, a retired Hollywood makeup artist, is stuck inside her apartment, stuck in her daydreams of bygone celebrity and glamour, and stuck on hold with her pharmacist. She tries to make sense of the Los Angeles outside her windows, the LA of 2020, but she can’t hear herself think over the echo of sirens and her chatty brother’s interjections. I’ll Be Seein’ Ya, written by Jon Robin Baitz, the author of Other Desert Cities and Vicuña, is an unflinchingly funny new play that takes on our anxieties and delusions and reveals new truths about our strange reality. In The Insolvencies, two men—one younger, one older, one a professor, one a former student—recall their relationship and the time they felt “the piercing sting of simply being seen.” A study of sex and pleasure, of justice and shame, this short, stirring play completes the affecting pair of new works from Baitz, “the American theatre’s most fascinating playwright of conscience” (Michael Kuchwara, Associated Press).
THE STORY: Wall Street powerhouse Sandy Sonnenberg finds his personal and professional life threatened by the unraveling secrets of his past. A tragic game of financial and moral betrayal is played out over four decades and between two friends at t
Called a cunning and elegant play . . . with] deft story-telling (John Lahr, The New Yorker), Ten Unknowns, John Robin Baitz's latest work, is an explosive drama about art -- and what happens when it becomes commerce.Malcolm Raphelson is a painter who was at the top of the art world -- until the critical vogue turned from realism to the abstract expressionist work of others. He has been in self-imposed exile in Mexico for decades, until dealer Trevor Fabricant decides it's time for a retrospective. Trevor sends Judd, a talented and tormented young painter, to serve as Malcolm's assistant and unofficial minder. When they are joined by a beautiful young student, their tense equilibrium is upset. In Ten Unknowns, Baitz portrays, in the words of Linda Winer of Newsday, a world conflicted with questions about the tyranny of art fashion and quality, about the benefits and blind spots in the outsider sensibility, about the warring American impulses for good and for meddling.
“One of the most gratifying, even inspirational, things about the American theatre today is the very existence of Jon Robin Baitz. With A Fair Country his writing continues to push our theatre out of the parlor and into the political.” – Linda Winer, Newsday “Baitz is occupying theatrical territory that once was the turf of Arthur Miller and Lillian Hellman, though he writes in his own idiosyncratic voice… He has a gift for familial confrontations that are vicious, funny, brutal, and bizarre.” – Vincent Canby, New York Times (Broadway Production) “Few American playwrights have the ability to write such pointed dialogue, and fewer yet are able to marry their domestic drama with the larger political and social issues that concern Baitz.” – Richard Christiansen, Chicago Tribune (Broadway Production) “A sizzling new play.” – Howard Kissel, New York Daily News (Broadway Production) A subtle and powerful exploration of the personal impact of politics on an American family stationed in South Africa during the time of apartheid. Jon Robin Baitz is the author of Three Hotels, The Film Society, Other Desert Cities, The End of the Day, and The Substance of Fire, which he adapted into a major motion picture. He was the showrunner on ABC’s Brothers & Sisters. He also wrote the screenplay for the upcoming film Stonewall directed by Roland Emmerich. He lives in New York.
THE STORY: Hoping to reconnect with his music and shatter the artistic block that's plagued his career, Stephen Hoffman, a young American piano prodigy, ventures to Vienna in the spring of 1986. He is assigned to an elderly vocal teacher, Professor
THE STORY: Brooke Wyeth returns home to Palm Springs after a six-year absence to celebrate Christmas with her parents, her brother, and her aunt. Brooke announces that she is about to publish a memoir dredging up a pivotal and tragic event in the f
THE STORY: Ibsen's most beguiling antiheroine is given a new twist in Jon Robin Baitz's acclaimed adaptation of HEDDA GABLER: She's no longer the chilly, inscrutable manipulator but a woman with, as the New York Times put it, a context and
“One of the most gratifying, even inspirational, things about the American theatre today is the very existence of Jon Robin Baitz. With A Fair Country his writing continues to push our theatre out of the parlor and into the political.” – Linda Winer, Newsday “Baitz is occupying theatrical territory that once was the turf of Arthur Miller and Lillian Hellman, though he writes in his own idiosyncratic voice… He has a gift for familial confrontations that are vicious, funny, brutal, and bizarre.” – Vincent Canby, New York Times (Broadway Production) “Few American playwrights have the ability to write such pointed dialogue, and fewer yet are able to marry their domestic drama with the larger political and social issues that concern Baitz.” – Richard Christiansen, Chicago Tribune (Broadway Production) “A sizzling new play.” – Howard Kissel, New York Daily News (Broadway Production) A subtle and powerful exploration of the personal impact of politics on an American family stationed in South Africa during the time of apartheid. Jon Robin Baitz is the author of Three Hotels, The Film Society, Other Desert Cities, The End of the Day, and The Substance of Fire, which he adapted into a major motion picture. He was the showrunner on ABC’s Brothers & Sisters. He also wrote the screenplay for the upcoming film Stonewall directed by Roland Emmerich. He lives in New York.
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