In Proof, Auburn has written a wonderful play, taking on some very key characteristics of humanity. Especially wonderful is the father-daughter relationship between Robert and Catherine. However, just as intriguing are the relationships between sisters Catherine and Claire, and between Hal and Catherine.

Auburn hits strong notes on most issues, including trust, duty, love, and sanity. After reading the play, it should be quite clear why it won the Pulitzer.

This is a first-rate drama, and I would dare to list in up with plays by Ibsen and Chekov. The only reason I omitted the fifth star is purely subjective, in that I did not feel Claire's character was fully developed.

I recently saw the Manhatten Theater Club's production of Proof on Broadway, and I expect to find even more delightful surprises in my first reading of the script. David Auburn's examination of love, trust, and betrayal is subtle and moving. With a keen eye for true human nature, he pits the logic of mathmatics against our emotonal subjectivity and solves the conflict with simplicity and eloquence. His humor and clarity make this script a must-read for all who love intellectual/emotional power struggles. As a theater student, I read any play that falls into my hands, but rarely do I find one with such multi-layered characters matched by such an eloquently truthful plot. You won't be disappointed.

In the past few years there has been a resurgence of plays with themes centered around math and science and characters who are mathematicians and scientists. Thank heaven! Michael Frayn's "Copenhagen" is magnificent. Then there are two plays produced by the Manhattan Theater Club: "An Experiment with an Air Pump" by Shelagh Stephenson and this play, "Proof" by David Auburn. I think both are wonderful.

After winning the Pulitzer, a shot at a Tony, and a continuing run on Broadway, Auburn really has no need for my good words; however, let me give a few anyway. This is a cleverly written piece. Unlike "Copenhagen," this play really isn't about mathematicians and scientists. It is just framed around them. No math skills are necessary to enjoy this play. Instead, it is an examination of love, trust, madness and genius presented through the lives of mathematicians.

In fact, the only weakness in this play is when real mathematics comes up. I cringed when I heard the famous exchange between mathematicians G.H. Hardy and Srinivasa Ramanujan put in the mouth of Robert and Catherine, the father/daughter mathematicians at the heart of this play. It just rubbed me the wrong way.

Fortunately, this is the only time math actually comes up. Instead, this play takes us into the lives of four very interesting people. I was fortunate enough to see a performance of this play on its second night on Broadway. I was incredibly moved. Mary-Louise Parker's performance as Catherine was particularly impressive. Reading the script, I was carried right back to the theater and could relive the experience again. I loved it.