Commentary: Annie Baker chases nexus of pain and desire in hypnotic observational odyssey, ‘Infinite Life’
NEW YORK — The plays of Annie Baker take up a question that preoccupied Anton Chekhov at the end of the 19th century. How much propulsive action must a play contain to hold an audience’s attention?
At issue is the relationship of plot to realism. In a theater dependent on exaggerated storylines — hairbreadth escapes, implausible coincidences and either conclusively happy or disastrous endings — how can the momentousness of ordinary life be captured?
In his four dramatic masterpieces, “The Seagull,” “Uncle Vanya,” “The Three Sisters” and “The Cherry Orchard,” Chekhov defied to varying degrees the bullying demands of melodrama. He was testing how far the stage could rival the short story, his other main artistic outlet, as a medium of self-observation and subtle epiphany.
Epic things happen in Chekhov’s plays. Characters kill themselves and die in duels. Dreams of love are shattered. Family members tearfully return and wrenchingly depart. An estate with a beloved orchard
