Tuesday, October 21, 1997
Los Angeles-based play gets personal
Playwright sheds political themes for true Hollywood account
By Sam Toussi
Daily Bruin Contributor
Not unlike Tony Kushner, the Tony-award winning playwright of
"Angels in America," Jon Robin Baitz is one who attaches personal
stories to political issues. Despite the increasing isolationist
sentiment in America, Baitz writes plays that address issues
dealing with America’s place in the international realm.
Baitz’s new play "Mizlansky/Zilinsky" will be performed as a
part of Los Angeles Theatre Works’ "The Play’s the Thing" radio
theater series. There will be four performances from Oct. 22
through Oct. 26. The play will then be aired on KCRW 89.9 FM. The
play boasts a cast that includes Rob Morrow, Julie Kavner, Nathan
Lane and Paul Sand.
Yet the play is a bit uncharacteristic for Baitz in that it does
not tackle any political controversies. It also has a more
light-hearted mood.
"I think it is a departure in a way," Baitz says. "I think what
happens is you go through phases and you run a theme through all
your work. I was interested in America’s place in the world and how
America had betrayed the rest of the world again and again. But now
it’s time to give it a rest. I started to feel as though I had come
to the end of the road. This play is more relaxed with a sort of
jagged edge with a sting. It’s not so serious."
Kavner, who plays Mizlansky’s ex-wife, is delighted to see
Baitz’s work take this turn.
"He’s an incredibly funny man," Kavner said. "His other writing
was more serious, but there was always a wit there that comes up
from the characters. They’re tortured in the neurotic sense, and it
can be very funny."
Besides being known for his politically driven plays, Baitz is
known for his intense and often poetic dialogue, a quality that
Baitz mainly attributes to his upbringing.
Born in Los Angeles, Baitz moved to South Africa when his father
got a job there. He lived there for seven years before he returned
to America, where he found that he was no longer a part of American
society. Rather, he had become an expatriate, a person who was
intimately aware of the issues of American life but uniquely
removed from it.
"In a way, I think it was essential as a writer for me to grow
up foreign," Baitz says. "It’s always a little uneasy, but it’s a
useful skill for a playwright. Everything’s a foreign language, and
you become more adept at listening."
And listening plays a large part in Baitz’s writing. His plays
are about language, with scenes running over 10 minutes.
The play deals with the wheeling and dealing of two burnt-out
Hollywood producers who get involved in the tax-shelter
business.
The play is set in the ’80s, a decade Baitz has some strong
notions about.
"(The play is about) the way a place can change," Baitz
explains. "It takes place in the ’80s, which was a very mercantile,
overtly ruthless and unromantic time: the Wall Street explosion and
the enormous sums of money. It was really the first time in
post-war America that life was all about business."
"It’s a very transient culture," Kavner concurs. "People come
here to make money. The play is horrifying because it’s about show
biz. It really makes you want to shower and take the next ride out
of L.A."
The play is taken directly from a period in Baitz’s life when he
worked for two Hollywood producers.
"I was living in L.A. and I worked for two broken down producers
who were on the fringe of the Hollywood scene. I really liked them
even though they were crooked. They had settled into some sort of
con but they were surprisingly sympathetic."
The compassionate nature of Baitz’s characters has played a
large part in his success as a playwright.
"His plays deal with social, political issues," Kavner says.
"But all of his plays are based on humans."
It is that human quality in Baitz’s plays that prepare one for
how remarkable and genuinely nice Baitz is. Talking to him is very
easy because he is so casual. He chooses his words carefully, and
his voice is calm and soft.
"He is really easy to talk to," Kavner said. "He’s so smart and
literary; he’s educated, but he’s not a snob in any way. He’s smart
in terms of books but also in terms of people, and that’s partly
because he’s in touch with his own psyche. I’m assuming he’s had
therapy just because he’s incredibly open with his work, himself
and his life."
It is that attitude that makes "Mizlansky/Zilinsky" a surprise.
But that is just part of the new chapter of Baitz’s work.
THEATER: Performances for "Mizlansky/Zilinsky" will be held Oct.
22 through 25 before a live audience for future broadcast on KCRW
89.9 FM.