Displaying items by tag: Sam Shepard

Love is often jokingly referred to as a socially acceptable form of insanity, but in Sam Shepard’s ‘Fool for Love’ – social acceptability is an afterthought. Steppenwolf is especially known for their revivals of Shepard’s plays, and under Jeremy Herrin’s direction, their revival of ‘Fool for Love’ is as good as you can get.

‘Fool for Love’ is a gripping drama about two unstable lovers battling for control in a seedy, desert motel. The fools, May and Eddie played by Caroline Neff and Nick Gehlfluss are an equal match, dancing over the thin line between love and hate.

The one-act play opens on a hauntingly abandoned motel room somewhere in the Mojave Desert. May and Eddie cling to one another like feral animals. As the play barrels along they reveal the perverse intertwining that led them to this moment. Caroline Neff gives a wrenching and gritty performance that’s nothing short of electrifying. Nick Gehlfuss’ hulking appearance is hard to ignore, but in this version, his character is almost goofier than threatening. For that reason, their desire feels more understandable.

‘Fool for Love’ is said to live in the same universe as Shepard’s ‘True West’ and ‘Buried Child’. This play is certainly the most straightforward of the three. Here Shepard refined his exploration of brutality with a more universal central question: what makes a relationship toxic? And of course, there’s a touch of the mystic. Tim Hopper is nearly unrecognizable as The Old Man but makes for some of the most intense moments of the show.

Steppenwolf’s revival of this erotic thriller feels perfectly timed considering the success of last year’s ‘Babygirl’ and ‘Challengers’. If there’s any truth to the old adage ‘sex sells’ then the current pop culture landscape is only proving it. For years the erotic thriller seemed all but extinct as a genre which once dominated the 80s and 90s. Today there seems to be a renewed hunger for stories with sexual taboos as their subject matter.

Part of what makes this play so engrossing is the production itself. The thoughtfully designed set by Todd Rosenthal paired with Raquel Adorno’s perfect costume styling, achieve Jeremy Herrin’s vision. Every small detail tells part of the story and provides context otherwise not in the short script.

Steppenwolf’s first show of 2025 is going to be hard to top. Between the cast and the shocking script, ‘Fool for Love’ is sure to leave a lasting impression on those who see it. In confident hands, Sam Shepard’s romantic dark comedy continues to unsettle audiences even 40 years later. 

Extended through March 23 at Steppenwolf Theatre Co. 1650 N Halsted St. 312-335-1650

a“There’s no honor in self destruction.” An interesting line to ponder when thinking about what Sam Shepard’s Pulitzer Prize winner ‘Buried Child’ says about our current times. Sadly we lost Sam Shepard recently. Writers Theatre’s production of ‘Buried Child’ serves as a fitting homage. Director Kimberly Senior assembles a dream cast for her well-conceived revival.

Senior is a meticulous director. The attention to minor details of staging makes for an immersive experience. ‘Buried Child’ is a complicated play, reading it can be challenging. Senior’s version is clear. Her grasp of the script and the meaning of Sam Shepard’s words shines through. While it adds a little to the runtime of the show, two intermissions is a wise choice.

This production changes the focus somewhat. Shepard was known for male-driven plays and some critics argue his female characters are underdeveloped. Senior mines the script for a new interpretation; that ultimately the women are the ones who keep the play moving. Shannon Cochran plays Hallie, the matriarch. Her performance is riveting, she stalks the stage doling out anger and jokes. Also playing against type is Arti Ishak as Shelly. This character is ordinarily somewhat meek but here she’s a dominant figure that forces this family to its reckoning.

The male roles are notably cast. Mark L. Montgomery is nearly unrecognizable as Tilden. His portrayal of an emotionally stunted man-child is haunting. Timothy Edward Kane delivers a sort of ‘Texas Chainsaw Massacre’ vibe as the younger son Bradley. His wandering eye contact has an unsettling effect. Larry Yando becomes Dodge. Yando’s an old pro at playing a grumpy old man but the physicality of sickness and depression are palpable.

Shepard wrote this play in the 70s as an observation on the misery of rural American life. Once idyllic places got decimated by closed factories and failing farms. Unfortunately not much has changed for the better in these places, and for that this production seems timely as ever. Kimberly Senior’s production would make Sam Shepard proud. The atmospheric staging and guttural dialogue combined with powerhouse performances will surely leave a lasting impression. A thrilling version for our modern times.

Through June 17 at Writers Theatre. 325 Tudor Court, Glencoe IL. 847-242-6000

In a Sam Shepard play, rarely are things what they seem. His 1980 play "True West" is no exception. Under the direction of James Yost, Shattered Globe Theatre tackles this modern classic. "True West" is often considered part of a family saga by Shepard that includes his 1979 Pulitzer Prize winner "Buried Child." 

Austin and Lee are two brothers who couldn't be more different. Austin (Kevin Viol) is an upstanding writerly type who we first meet hunched over a typewriter in his mother's kitchen. Lee (Joseph Wiens) is his hulking older brother with a checkered past. Austin is working on a script in his mother's house while she's on vacation. Hoping for some peace and quiet, he's interrupted by Lee whom he hasn't seen in five years. Over the course of Act I, we watch as Lee and Austin battle for superiority through frustratingly inane questions. The moment of reckoning comes when Lee highjacks Austin's meeting with an important Hollywood executive. 

What the play points to in American culture is that bullies win. Bullies get what they want and being a polite makes you weak. This theme couldn't be more relevant as we look to a certain unpresidential candidate running for president this year. No matter how much evolution we have to the contrary, human nature is that the strongest eat first. Austin and Lee can be interpreted as two parts of the same mind. Shepard often opines on the perception of masculinity. "True West" explores the duality we all possess. 

There's a special place in Chicago's theater community for "True West." It was one of the first out-of-town successes of a then fledgling theater company, The Steppenwolf. Gary Sinese and John Malkovich starred in the principal roles. It transferred off-Broadway in 1984 and helped establish The Steppenwolf as one of the best regional theaters in America. 

Director James Yost's vision for this show is faithful. The set by Greg Pinsoneault drops us right into 1980. Sarah Jo White's costumes are also very authentic. Performances are this production's strongest asset. Kevin Viol's breakdown between Act I and II is hilarious. While Joseph Weins' character stays mostly static throughout the play, his commitment to the grossness of extreme masculinity echos Marlon Brando as Stanley Kowalksi. Shattered Globe's production of "True West" shows their knack for bringing topical themes to classic works. 

Through Oct 22nd. Shattered Globe Theatre. 1229 W Belmont Ave. www.theaterwit.com