The complex issues addressed in this outstanding Donald Margulies play (a 1992 finalist for a Pulitzer Prize) will haunt you long after you leave the theater. They are presented with some bravura performances, chief among them Laura Linney’s.

The story explores the price, the value and the meaning of success. In this case the individual struggling to maintain his status as “new visionary” and “wunderkind” is a self-centered artist named Jonathan Waxman (Ben Shenkman) and the impact of time and moral compromise on his psyche. Though he has gotten what he wanted, Waxman finds that he is still unsatisfied. He seeks out his initial muse, Patricia (Laura Linney), who first sparked his creative fire and whom he later jilted. Waxman has transformed his “art” into a successful “business,” and there is a waiting list for his works with people purchasing them “sight unseen.”

As directed by Daniel Sullivan, the story moves gracefully back and forth through time to reveal Waxman’s love-hate relationships with his family, Patricia (who is gentile), and his Jewish faith.

When we first enter the lives of Jonathan and Patricia, 15 years have passed since they’ve seen each other. Jonathan has achieved icon status for his graphic, allegorical paintings and Patricia has hidden herself away in an unhappy marriage with a bitter and shy archeologist Nick (Byron Jennings) with whom she works digging for clues of past civilizations in Norfolk, England.

Buried relics are not the only artifacts of the past influencing their lives, however. Jonathan still casts a long shadow on Patricia’s as a living artifact from a happier more hopeful time, and by proximity, her husband’s life. Jonathan’s seminal work of Patricia when they were students is hanging over their mantel. Jonathan is in England because of a retrospective of his work.

Linney and Shenkman perfectly capture the awkward tension that arises when people who share a painful history are thrown together. Patricia even refers to herself with mocking humor as Jonathan’s “sacrificial shiksa” . As might be expected Jonathan and Nick detest one another and spar for influence over each other and Patricia.

When Jonathan discovers the existence of his long forgotten portrait of Patricia, he wants to retrieve it. “I’ve lost my way. I’ve been trying to retrace my steps. When I saw that painting I discovered myself,” he admits.

Patricia’s decision about the painting will leave you with a golf ball-size pang in your heart. “I can’t describe the pleasure I had being your muse, the connection was electric. I never felt so alive. I would have done anything for you.” In fact, Linney’s entire, beautifully nuanced performance reflecting unfulfilled desire and disillusion will leave a knot in your throat.

The one jarring element of the play was the relationship between Jonathan and the aggressive German reporter Grete (Anna Reeder) who baits him about being a commercial artist, an American and a Jew. The encounter is full of intellectually interesting information but how necessary is all of it?

Margulies’ “Sight Unseen” is a moving commentary on the conflicts of finding happiness and achieving success.

“Sight Unseen”

Presented by the Manhattan Theatre Club

Biltmore Theatre

261 West 47^th Street

for tickets: call TeleCharge at 212 581-1212 or visit www.telecharge.com . Tickets can also be purchased at the box office.

$81 - $26

Running time approximately 2 hours with one 15 minute intermission

“Sight Unseen” is shown Tuesday – Saturday at 8 p.m., with a matinees on Saturday and Sunday at 2:00 p.m.