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Annie Baker's full-length plays include 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 Nocturama. The East Coast playwright hit the region with three of her “Vermont Plays” over the course of a few months in 2012, when she was only 30: first “Body Awareness” at Berkeley’s Aurora Theatre Company, then “The Aliens” at San Francisco Playhouse, then “Circle Mirror Transformation” at Marin Theatre Company.There’s also something mysterious about Mertis herself. Her professed interests are amiably banal, such as memorizing facts about birds, but when she reads an account of a sunset from her journal, her description is surprisingly lurid. A slow-moving, pleasant and amusingly chatty old lady, Mertis is either very cagey about whether the Civil War-era building is haunted or just blithely accepting of its “temperamental” qualities. To mark the passage of time, she turns the hands of the clock, and Robert Hand’s lighting shifts the ambient daylight as if Mertis is controlling the movement of the sun.The young couple has its own issues. Baker grew up in Amherst, Mass., and graduated from the Department of Dramatic Writing at New York University's Tisch School of the Arts. The sitting-room shelves are lined with dolls and miniature houses, all lit up invitingly; in the dining room, which she calls Paris, the tablecloths are white and lacy. They’re at that point in a relationship when just seeing your partner eat can go through you like a drill. The twenty-nine-year-old Elias Schreiber-Hoffman (rendered, with just the right amount of sourpuss passive-aggressiveness, by Christopher Abbott) enters, followed by his Asian girlfriend, the thirty-one-year-old Jenny Chung (Hong Chau). I couldn’t figure out whether that quality was meant to be specific to him or was, in Baker’s view, a defining characteristic of his race. Her writing is a great blessing to performers: The Flick draws out nakedly truthful and unadorned acting. She also introduces an element that mysteriously alludes to the title of the play.By Annie Baker, presented by American Conservatory TheaterGet Morning Report and other email newslettersPerhaps the oddest thing about the B&B however, is its owner. Her last play, “The Flick” (which won a Pulitzer Prize for Drama in 2014), put me off, because I didn’t know how to read the character of Avery, a twenty-year-old black man working in a movie theatre with a white girl he has a crush on and a boss who’s all hot air and “authority.” The character felt underdrawn to me, too willing to be a victim. They combine two distinct styles of American playwriting: Richard Maxwell’s bone-dry, slow, humorous, and mundane speech and the excruciatingly beautiful, repressed-under-open-skies language of William Inge.Lynn Nottage and Suzan-Lori Parks make the recognizable unrecognizable—which is to say, they make it art.Mertis’s humility is part of her old-fashioned grace.