The Flick e-Bulletin


“Behold! human beings living in an underground den, their legs and necks chained so that they cannot move,… behind them a fire is blazing at a distance, and between the fire and the prisoners, men passing along the wall carrying all sorts of vessels, and statues and figures…. They see only their own shadows, or the shadows of one another, which the fire throws on the opposite wall of the cave... And if they were able to converse,… would they not suppose that they were naming what was actually before them? To them, the truth would be literally nothing but the shadows of the images.”
– Plato, Republic, Book VII


I don’t remember when or how it happened. 

It felt like one day I woke up and realized that I loved other things in my life more. I would even go so far as to say that it felt like waking up from a decade-long dream.

From age 9 to 19, movies were my greatest happiness. They were the thing that got me through the day. Watching a movie was always, always What I’d Rather Be Doing. I never felt fully present in my life, except when I was watching a movie. Which is to say, I never felt fully present in my life except when I was pretending I was in someone’s else’s life onscreen, which is to say maybe I was never fully present at all.



Visit our show page to read more about The Flick, including bios for Annie Baker, Sam Gold, and the cast!

The Flick

“We need more weird plays.”
– Annie Baker, from an article in The Village Voice

A lot has been said about Annie Baker since her work first appeared on New York stages, and I don’t think it’s a stretch to think that a lot will continue to be said about her writing over the years.  Her work has played all over the U.S. and internationally, every production surrounded by interviews, preview articles, program notes, college lectures, panel discussions and reviews, each one an attempt to articulate that uncanny mixture of wonder, elation and despair we experience when watching her plays.  Having just spent the better part of my day in an internet rabbit-hole that a Google search about Annie led me down, I’m sitting down to write my own little piece about her, perplexed by what folks have said.   Philadelphia Weekly: “If the goal of realism is to imitate life on stage, The Aliens is one of the most realistic plays to come along in quite some time.”  An associate professor at Amherst: “Theater artists like Baker, perhaps now more than ever, seem committed to replicating and reenacting… [offering] an apt occasion to address the proliferation of ‘real-life’ based reenactments, our desires for realism, and the forms that promise to deliver it.”  Time Out New York: “[Baker’s] heartbreaking works of staggering focus have actually rescued realism from the aesthetic scrap heap.”  


Backstory: The Film That Wasn't There

Each time you go to the movie theater these days, it is increasingly unlikely that you will be sitting down to watch a film.  Many recent movies (Slumdog Millionaire, The Social Network) were shot with digital cameras, and many more are on their way.  But even movies shot on film (The Master, Lincoln) are increasingly shown via digital projector.  In 2009, only 15% percent of movie screens world-wide were digital.  Today, it’s 65%, and by 2015, it will be 85%. 



During the run of The Flick, post-performance discussions with Annie Baker and Sam Gold have been scheduled for the following dates:

Wednesday, February 20
Sunday, February 24 (following the matinee)
Friday, March 1 

These discussions are an important aspect of our play development process. We hope you can take part!


The Lab Report

As a regular reader of our bulletins, you know that Playwrights Horizons premieres six new American plays and musicals every season.  What you may not know is that beyond the marquee lights and behind the scenes, our Literary Department helps scores of playwrights to develop their voices and their new work at all stages of the writing process through a series of programs collectively known as the New Works Lab.

The Lab’s central purpose is to provide writers with developmental opportunities, affording them the time and space to collaborate on unfinished projects and hear their work aloud.  In permutations ranging from one-day readings to extensive, week-long workshops, each process is structured to meet the needs of the individual playwright and unique project. Readings are closed to the public, allowing the author to evaluate and revise his or her work in a pressure-free environment.

The New Works Lab also encompasses a range of the Literary Department’s ongoing activities that allow them to discover and support new American writers.  Playwrights Horizons is one of the only leading American theaters with an open submission policy, accepting scripts from any playwright – regardless of whether they’re known to us or have been produced on our stages before.  Our staff reviews nearly 1,000 submissions each season (and every submission receives a written response); awards three to five new play commissions each season; and attends readings and productions of new work in New York and throughout the country.

As we near the mid-point of the 2012/2013 season, Playwrights Horizons has already produced over a dozen New Works Labs.  The season began with a developmental reading of Annie Baker’s The Flick.  In October, our SuperLab program, a collaboration with Clubbed Thumb, produced a week-long lab of Movers and Shakers, a devised piece about political sex scandals created by Stein/Holum Projects; and also a workshop of Jordan Harrison’s Marjorie Prime, a Playwrights Horizons commission.   November brought a SuperLab of Kirk Lynn’s Your Mother’s Copy of the Kama Sutra, as well as a workshop of Madeleine George’s commission The (Curious Case of the) Watson Intelligence.   And December saw readings of veteran PH playwright/actor David Greenspan’s latest play, I’m Looking For Helen Twelvetrees; Heidi Schreck’s The Consultant; and Carly Mensch’s play Middleman.

Watch for The Lab Report in future bulletins for updates on the ongoing activities of the New Works Lab!

– Sarah DeLappe, Literary Resident


'tis truly better to give

Contributions from Playwrights Horizons Patrons sustain an artistic home for writers, where thousands of moving worlds and moments come to life.  Thank you for helping to create these worlds and moments, and for supporting Playwrights Horizons.  

But what does a contribution to Playwrights Horizons really do?

$6,000 of your donations built the devastating pyrotechnics you saw at the end of Lisa D’Amour’s Detroit.

$5,000 in donations designed and built the realistic fat suit created by Sam Hill and Asa Thornton of Hill Studio for Samuel D. Hunter’s The Whale.

$4,000 in donations rented scenic elements from a company that salvages and refurbishes movie theater seats for our upcoming production of The Flick by Annie Baker. 

$1,000 of your donations paid for the break-away patio furniture on the set of Detroit.

$500 of your donations bought all of the food eaten by Charlie during the run of The Whale.

$100 of your contributions paid for the biofeedback machine in Charlie’s apartment in The Whale.

To make a contribution, please click HERE or contact the Development Department at (212) 564–1235 x3143, or


helpful information



Member tickets to The Flick are $35 each (reg. $70) for all performances February 15–March 31. YOUNG MEMBERS: 30&Under Member tickets are $20; Student Member tickets are $10.

Age appropriate?

We recommend The Flick for those aged 13+. 


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