The most exciting evening I'd experienced as an audience member of professional theatre to that time, and really never to be surpassed, was seeing Curse of the Starving Class at the Public Theatre in 1978, by a playwright unknown to me named Sam Shepard.
I walked into the Public Theatre in complete innocence. At that time the Public was like a multiplex of live theatre, with as many as four plays on stage every night. I chose Curse of the Starving Class partly because of the title, and mostly because there was a ticket available.
Apparently in the cast were Olympia Dukakis, Pamela Reed and Michael J. Pollard, but it was the writing that blew me away: the words. They expanded my conception of what was possible at this level. Either at intermission or after the play I bought a copy in the lobby of Angel City, Curse of the Starving Class & Other Plays by Shepard.
Although I would later see another original production--Fool for Love ( with Will Paton the week after he took over the role from Ed Harris)--plus the PBS filming of the Steppenwolf production of True West, and a production somewhere of Buried Child, my main experience thereafter would be reading his works--other plays and play collections, and his prose pieces in Motel Chronicles. All about the words.
Shepard was a downtown Manhattan star before he became a movie star, and his lore was everywhere there. Wikipedia has him meeting Jessica Lang on the set of a movie, but legend of that time said he met her when she worked as a waitress at the hip downtown bar where he hung out.
Shepard influenced others, and helped establish a theatre of words for awhile (the most successful of which probably was David Rabe's Hurlyburly which made it to Broadway.) This was much to my predilections as a writer, though I realized that I was not comfortable enough with violence to write quite like he did, nor as a consequence would I reach such deep places in an audience. But those long arias of words, spoken in one play by an actor playing drums, were riveting.
obit refers to his play A Lie of the Mind as "great," at the time reviewers called it disappointing, as I recall. He seemed to fade into the firmament by the end of the 1980s, though he kept writing and acting.
Oddly then, it was only a couple of years ago that Fool For Love was first produced on Broadway. I don't know when Shepard was diagnosed with ALS, a disease that varies a great deal in his symptoms and progress, but always ends the same, as it did for my father. It's said that Shepard dealt with it with the same stoic dignity of his on-screen persona.
At the New Yorker, Patti Smith writes an intimate memorial. I had no intimate or even actual relationship, but he touched my life nevertheless, and that's as much as I can honestly write about him. Sam Shepard died at age 73. May he rest in peace. His work lives on.
Friday, March 17, 2017
In addition to the much lauded local production of Arthur Miller's All My Sons, recently produced by Ferndale Rep and Arcata Playhouse, directed by Jane Hill, there is currently a Broadway revival of Miller's play The Price. President Obama attended a performance with his daughter Malia. The last time The Price was in New York was in 1992, when the playwright was alive. It was the occasion for this interview with Charlie Rose. Much of what he says about American theatre still pertains (though perhaps the quality of older actors in regional theatre is better), and what he says about playwriting and the role of theatre in society is perennially relevant.
It seems also that Miller's stature as an American playwright continues to grow. Both The Crucible and Death of a Salesman are produced frequently around the world by professional theatres as well as others. In an American Theatre interview, contemporary playwright Theresa Rebeck said, "I have a theory that anyone who ends up with a career in the theatre was in either Our Town or The Crucible in high school or college."
Now other of his better known plays like The Price, All My Sons and A View From the Bridge are being done more often as well. But Miller wrote other fine plays, including some shorter works with small casts late in his career. These are at least as stageworthy as many such contemporary plays, and deserve to be seen.
Thursday, January 19, 2017
"Mr. Obama’s long view of history and the optimism (combined with a stirring reminder of the hard work required by democracy) that he articulated in his farewell speech last week are part of a hard-won faith, grounded in his reading, in his knowledge of history (and its unexpected zigs and zags), and his embrace of artists like Shakespeare who saw the human situation entire: its follies, cruelties and mad blunders, but also its resilience, decencies and acts of grace. The playwright’s tragedies, he says, have been “foundational for me in understanding how certain patterns repeat themselves and play themselves out between human beings.”"
New York Times 1/19/2017
Sunday, January 8, 2017
While textual arguments may go on, a writer for the Guardian asserts that new research findings by manuscript scholar Heather Wolfe pretty much prove that the Shakespeare who wrote the plays was indeed the Shakespeare from Stratford, and not some Earl or other.
Whenever the "controversy" is resurrected, with everybody presenting their evidence, it's routinely asserted that alas nobody has the proof and the available information has been so thoroughly analyzed that it's unlikely to be settled unless something completely new turns up.
That turns out to be nonsense as well. Because Heather Wolfe found the evidence in the library. She just looked where earlier researchers didn't--in the controversy over the Stratford Shakespeare's attempts to get a family coat of arms approved. Though she doesn't make sweeping claims, she found enough to settle the matter--contemporaries knew that the Stratford Shakespeare and the playwright were the same.
This adds to what was already a pretty convincing case made by other scholars for Shakespeare as the author of his own plays. Opponents built their doubts on the class system. They assumed that someone brought up in a provincial town couldn't get an adequate education, but the Stratford Shakespeare had a classical education more rigorous than most Americans get today, even in PhD programs.
So if it wasn't education, it must be because lower middle class provincials, perhaps even raised Catholic, couldn't possibly have that level of verbal expression, let alone genius.
Well, guess what?