The week after Thanksgiving. A Bed & Breakfast in Gettysburg, Pennsylvania. A cheerful innkeeper. A young couple struggling to stay together. Thousands of inanimate objects, watching. A simple enough description, but Annie Baker's fascinating play takes a look at what theatre can be and builds a world all its own. Baker's hyper-realism bleeds into the eerily supernatural in this quiet tale, where actors and audiences alike delve into ideas of self, mortality, and the solitude of human experience.
About the Author
Annie Baker's full-length plays include The Flick (Playwrights Horizons, OBIE Award for Playwriting, Susan Smith Blackburn Prize), Circle Mirror Transformation (Playwrights Horizons, OBIE Award for Best New American Play, Drama Desk nomination for Best Play), The Aliens (Rattlestick Playwrights Theater, OBIE Award for Best New American Play), Body Awareness (Atlantic Theater Company, Drama Desk and Outer Critics Circle nominations for Best Play/Emerging Playwright), and an adaptation of Anton Chekhov's Uncle Vanya, for which she also designed the costumes (Soho Rep). Ms. Baker's plays have been performed at over 100 theatres across the USA and in England, Australia, Argentina, Bolivia, Chile, Peru, Venezuela, Mexico, Latvia, Sweden, and Russia. She is a Residency Five playwright at Signature Theatre and a member of New Dramatists, MCC’s Playwrights Coalition and EST. Recent honors include a New York Drama Critics Circle Award, a Susan Smith Blackburn Prize nomination, a Lilly Award, a Time Warner Storytelling Fellowship, a MacDowell fellowship and a Master Artist Residency at Atlantic Center for the Arts. A published anthology of her work, The Vermont Plays, is available from TCG books.
"Annie Baker’s John is so good on so many levels that it casts a unique and brilliant light." - The New Yorker
"Ms. Baker...stretches her talents in intriguing if sometimes baffling new directions." The New York Times
"Baker is trying to extend to characters in extremis the intense realism — not stage realism but real realism — usually denied them in plays." - Vulture
"When it comes to playwriting, [Baker] is astonishingly clear-eyed. In John, her new play at the Signature Theatre, one character is blind and another wears glasses with a very strong prescription, but they both benefit from Baker’s excellent vision." The Guardian
"Baker knows exactly what she’s doing — she gives us just enough to open up possibilities. What a thrill!" - New York Post
"Baker does not merely tell a scary story. She shows them, piling up like ghosts of amputated limbs from the war wounded, and makes them riveting, unpredictable, altogether human theater." - Newsday