dark-attentiondark-datedark-timedark-contactdark-infodark-pricedark-venueicon-alert icon-arrow-left icon-arrow-right icon-blockquote icon-cal icon-clock icon-contact icon-facebook--dark_circle icon-facebook--dark_square icon-facebook--outline_circle icon-facebook--outline_square icon-facebookCreated with Sketch. icon-info icon-instagram--dark_circle icon-instagram--dark_square icon-instagram--outline_circle icon-instagram--outline_square icon-instagram icon-logo2 icon-pinterest--dark_circle icon-pinterest--dark_square icon-pinterest--outline_circle icon-pinterest--outline_square icon-pinterestCreated with Sketch. icon-price icon-spotify--dark_circle icon-spotify--dark_square icon-spotify--outline_circle icon-spotify--outline_square icon-spotify icon-twitter--dark_circle icon-twitter--dark_square icon-twitter--outline_circle icon-twitter--outline_square icon-twitterCreated with Sketch. icon-youtube--dark_circle icon-youtube--dark_square icon-youtube--outline_circle icon-youtube--outline_square icon-youtubeCreated with Sketch. icon-zoom light-attentionlight-cal light-clocklight-contactlight-infolight-pricelight-venue

Self-Examination in Pulitzer Finalist ‘Desert Cities’

In a 2013 interview with Jeffrey Brown, host of “Art Beat” on PBS, playwright Jon Robin Baitz shares that the idea for Other Desert Cities came from his trying to either exuviate or make sense of his life as a writer up to that point, taking stock of the potential damage he’d been a party to or may have done as a writer.

He goes on to say that he was wondering about the hubris—the act of writing about people who are living beings—that so many do this and so few get to respond to it. And while there are many great memoirs, there are also many that are absolutely unreliable in a fundamental sense, and that he was having a low-level crisis of consciousness.

I think it’s that level of self-examination and transparency that yields a play, from Baitz’s pen, with such flawed, beautiful and intriguing characters. Each of them searching for their place with each other, themselves and the worlds they choose to inhabit and attempt to reconcile, much as I imagine Baitz was doing himself.

There is no love greater than family and hence no wounds that cut deeper. Put in the shaker great secrets, addiction, depression, and parents and children with divergent political views and you have a martini that easily becomes a Molotov cocktail.

Baitz reveals that one of the reasons the play is called Other Desert Cities, is because he’s also thinking about the war in Iraq, as he has a character in the play state, “… a war going on a thousand miles away in another desert.” Baitz states that his interest is in complacency and how the concerns of the party in control at that time, seemed to be more about economic power than true political concerns.

It’s these themes about politics, family, morality, and conscience, that we get to examine through the eyes and struggles of Brooke Wyeth and her family—themes that are unfortunately all too relevant in our present-day lives. Will the Wyeth’s reconcile and come to terms, or have they cut too deep?

Headshot Image for Sheila Ivy Traister

Sheila Ivy Traister

Director

Sheila Traister is an award-winning actress with 39 years as an actor, director,...

Sheila Traister is an award-winning actress with 39 years as an actor, director, writer and educator in film, television and theatre. Recently she directed, For Colored Girls Who Considered Suicide When the Rainbow is Enuf, for 5280 Artist Co-Op and Arabian Nights at The Aurora Fox. She is the director & co-writer for the feature film Sleeping Dragon and is in development as the director for a full-length action film based on a novel with a female superhero. She received Best Leading Actress Awards for her performances in Sound of a VoiceThe Blue Room, Martha in Who’s Afraid of Virginia Woolf? and critical acclaim as Sah Jin in 99 Histories. As an educator, she has taught acting and directing for CFS, DSA and UCD, in addition to private coaching practice. “My deepest gratitude goes out to Susie, Mark and Maxine for your trust with this amazing play and your vision for a season of all ‘female directors;’ the stunning cast and crew for your glorious talents and unwavering commitment to the journey; and to you our patrons, thank you for embracing live theatre!

Read Full bio