May 7, 2020
the News: Artistic Director Loretta Greco is leaving San Fancisco's Magic
Theatre this month. Americantheatre.org wrote, "Greco says she has loved her
time with Magic. Sam Shepard might be remembered as building the theatre, but
Greco will be remembered for inviting everyone in. Greco had been aware of the
theatre because of Shepard, who she calls 'one of our greatest writers, period,
the end,' and getting to work with him there was a highlight for her. He was
constantly searching, she says, writing for six decades, from when he was a
teenager to a few days before he died in 2017."
"Greco keeps some of his short stories by her favorite chair
- his work is like a balm for her. 'I was a complete idiot when I first met
him,' she recalls. 'I was so nervous that I drove up Franklin the wrong way with
Sam in the car. It was hilarious because he was calming me down, and I drive
down Franklin every day. It wasn’t a new road for me - it was that I had my hero
next to me.'"
Sam with Greco in 2013:
I came across a few other remembrances about Sam at the Magic
that I've never posted -
Former Artistic Director Larry Eilenberg:
"Sam Shepard’s relationship to the Magic Theatre now enters the history books
side-by-side with Chekhov and the Moscow Art Theatre, O’Neill and the
Provincetown Players, Odets and the Group Theatre. While in residence during the
1970s and early 80s, here in San Francisco, Sam bridged the gap between American
realism and European absurdism with a voice that was all his own... One of the
things I most admired about working with Sam was his insistence upon the primacy
of the word. And his words will last, I trust, as long as there are actors and
Actress Jessi Campbell:
"Sam has broken my heart open a thousand times. It's hard to say exactly what it
is, but it's something about his endless searching, his insatiable hunger, his
inner turmoil, his relentlessness... His broken men and broken-hearted women...
His cowboys, his fathers, his dreamers, his lovers, his love for the open
road... Nothing has taught me more about the beauty and the pain of being human.
His work has transformed me again and again. He is my favorite. Always will be."
Actor Rod Gnapp:
"Working on Sam Shepard's plays at the Magic, have been the most rewarding and
challenging theatrical experiences of my life. My brushes with him and his
plays, have made me grapple with the best and the worst of myself. I feel really
blessed to have crossed paths with him while working on 'The Late Henry Moss';
and been lucky enough to be in the room and watch him do what he loved... Making
theatre out of nothing but his own driven desire. Sam smiling and holding me by
the shoulder as we toasted a whiskey to celebrate the wild ride was a moment I
will always cherish."
Director/writer/performer Sean San
"He made the world so real through his unreal way of approaching it - my whole
head opened up seeing his play and I have never found anything that comes close
to trying to show the world we live in as well as live theatre."
* * * * *
During most of Sam's photo shoots at the 2005 Cannes Film
Festival, he wore sunglasses so these two photos are unique and capture his
extraordinary looks at mid-life.
April 16, 2020
In 1987, an off-Broadway play made waves when a Hollywood
producer saw it and quickly turned it into the movie STEEL MAGNOLIAS. It has
become one of the most beloved movies of all time, cluttered with terrific
one-liners and heartfelt moments. Portraying the six Southern belles were Julia
Roberts, Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah and Olympia
Dukakis. They embodied sass, stubbornness, loyalty and a
Initial reviews were mixed.
Some critics found it weepy but ultimately winning; others thought the film’s
brassy sentimentality undermined its real emotional impact. And some took issue
with its portrayals of men. Nonetheless, it became 1989′s 14th
highest-grossing film. It was based on a true story. The screenwriter Robert
Harling’s sister died of diabetic complications after giving birth in the 1980s,
shortly before Harling composed the original play and the film script.
Co-star Dolly Parton told the press that Sam, her on-screen
husband, reminded her of her real-life husband Carl Dean. She
said not only do the two look alike, but they're both strong men of few words.
She said, "I much prefer a quiet man. I'm loud enough for the two of us." The
two men also shared a fear of flying. At the time of Sam's death, Dolly said, "I
was so sorry to hear of Sam’s
passing. What a nice man and what a great actor. I was honored to have him play
my husband in 'Steel Magnolias.' Rest in peace, my friend."
I'm including a movie clip that shows a great scene from the
film with Dolly as the vivacious hairdresser named Truvy who runs a home-based
beauty salon and Sam in the role of her husband Spud,
described as a quiet, moody man. They're preparing to attend the funeral of
their friend Shelby.
As in many films, Sam became a recognizable figure in America
cinema, often portraying the font of mature and untamed masculine sexuality.
Here's a movie still from the film:
Perhaps the most intriguing criticism of the film dealt with
whether it did or didn’t have a man problem. Movie critic Hal Erickson wrote,
"The film stumbles a bit in its depiction of the male characters as fools and
deadheads." Both Hal Lipper of the St. Petersburg Times and New York Times
reviewer Vincent Canby lamented the film’s decision to have actors play the
leading ladies’ husbands, sons, and boyfriends onscreen at all. In the stage
show, the male characters only existed offstage. Roger Ebert noted that the men
"do not amount to much in this movie" but concluded it was "a woman's picture".
He added, "I doubt if any six real women
could be funny and sarcastic so consistently but I love the way these women
talk, especially when Parton observes: ‘What separates us from the animals is
our ability to accessorize.'”
March 30, 2020
I recently came across another book on Sam called "Rebelul
Rigorii Mortale", by Romanian writer Alexandra Ares. It was originally
published in 2004 but then later expanded in a 2018 edition by Aldine Publishing
House. The title translates to "A Rebel of Rigoris Mortis". It won the award for
the best drama book from the Union of Writers in Bucharest.
Here is a quote from her book:
"Intuitive and prolific writer, Shepard has improvised
theater replicas just as jazzmen improvise musical lines, but he was brilliant
in these insights. He rewrote very little, astonishing his friends. The former
colleague from the Lower East Side room told how Sam bought a box of paper, went
into the room, started beating the car and came out a few hours later with a new
piece. […] Shepard reinvented American theatrical language at a time when
innovation came from Europe, brought an influx of energy, mystery, revolt and
magic into American drama so deeply realistic and created a mythology of the
present, starting from the idea. that 'the old God is too far' and 'no longer
represents our suffering.' ...Alexandra Ares
* * * * *
The movie page for DEFENSELESS
has been added today. Besides Sam, it starred Barbara Hershey, J.T. Walsh and
Mary Beth Hurt and was directed by Martin Campbell. I'd like to write some
positive comments but truth be told, the film was a flop. According to Jonathan
Rosenbaum of Chicago Reader, it was "a watchable but instantly
forgettable mystery thriller... Sam Shepard does his usual poker-faced bit as
the police detective assigned to catch the killer." Ouch! And from another
critic, "As a homicide detective named Beutel, Sam Shepard is the only low-key
player in the ensemble, so lanky and laconic you could picture him splitting
rails in his spare time." And Candice Russell of the Sun-Sentinel writes,
"Merely mediocre, Shepard chews gum and looks half-interested, perhaps because
he'd rather be riding horses than making movies." Yowser! Okay, you're catching
I didn't come across any production notes or interesting
stories, but the following excerpt is from a letter from Sam written in Virginia to
Johnny Dark on October 3, 1989 - "I have to return to L.A. on the 14th thru the
16th of this month for a re-shoot of Defenseless. I'll be staying at the
Four Seasons Hotel on Doheny - if you want to give me a call down there. I
really don't want to leave the farm now that Fall has arrived but I guess I have
to go. It would be great to see you if you happen to find yourself in L.A.
I will say that the best thing to come out of this film is
this photo which I used on the home page. It actually looks like a movie still
from "The Right Stuff". Handsome pic!
March 27, 2020
I've added the play page for 1994's SIMPATICO.
It was Sam's first full-length play in ten years and was originally targeted for
Broadway with a cast that included Ed Harris, Jennifer Jason Leigh, Frederick
Forrest and Beverly D'Angelo. However, the $800,000 production budget couldn't
be met or as Sam put it, "the deep pockets didn't present themselves". Plans
were then made to stage it at the Off Broadway Public Theater. Sam directed with
Ed Harris and Beverly D'Angelo remaining with new cast members Fred Ward, Marcia
Gay Harden and James Gammon.
The story took place in the world of thoroughbred horse racing with Sam
describing it as being "about the rivalry between two close friends who have
known each other their whole lives, and involves women and horses, gambling,
deceit, envy, jealousy, rage: the stuff I can't help writing about."
Sam with Lange and
son Walker at the "Simpatico" preview show on November 5, 1994 at the Joseph
received generally favorable reviews. Vincent Canby of the New York Times
called it one of the best plays of the year, and it sold out its initial run but
did not hold enough promise to move to Broadway. Five years later, it was
adapted for the screen with Nick Nolte, Jeff Bridges, Sharon Stone, Catherine
Keener and Albert Finney. Matthew Watchus directed and wrote the screenplay but
it was a struggle adapting it. One critic wrote, "Where the play is
stripped to bare essentials, the film invokes flashbacks to fill in the
backstory, adds multiple locations, and introduces other diversions that slowly
strangle the subtle points Shepard achieves in his original."
Certainly, we know that Sam had firsthand knowledge here as far as horses. Hotwalker, rodeo rider, farm manager, team roper, polo
player and foxhunting and cutting horses - there's wasn't much that Sam hadn't
done with horses. Then in 1987, he became a Thoroughbred breeder. He recalled,
"I had a farm, and I'd never been able to afford Thoroughbreds. But I've always
been fascinated by pedigrees, by how you plan and actually breed these things.
Now I had the chance." In a 2007 interview, he said, "I plan all the matings and never talk to
bloodstock agents. I spend endless hours poring over pedigrees, but some of the
best horses I've bred came from instinct."
Forever the cowboy, both on and off screen, Sam was often photographed in his
western gear. This new photo on the right, which was taken in 2005, is from the
National Portrait Galley of the Smithsonian Institution, a gift from Bill and
Sally Wittliff. The photographer is Matt Lankes, who also took the first photo,
which was previously posted and featured in the April 2006 issue of Cowboys &
Previously I have posted this famous Annie Leibovitz photo, but always in black
and white. This is the original color photo from the December 1984 issue of
March 23, 2020
In these coronavirus times of being housebound, I've begun
adding missing film pages to several of my web sites. Today I give you
FRANCES, the film that introduced Sam to an
actress called Jessica Lange, who birthed two of his three children.
The 1982 biopic chronicles the life of actress Frances Farmer
from the 1930s to the 1950s beginning with her high school days as a rebellious
student in Seattle. She wrote an essay questioning God, which outraged folks as
well as her visit to Moscow. The publicity plus her talent led to a successful
Broadway and Hollywood career, followed by a mental breakdown and many years in
mental institutions. Her domineering mother, outstandingly portrayed by Kim
Stanley, was instrumental in creating instability and dysfunction in her
Sam plays Harry York,
a fictional person based on a political radical named Stewart Jacobson who
claimed to have been one of Farmer's lovers, though close friends of the star
denied his even knowing her. Just how a movie can claim to be historically
accurate when the protagonist's main love interest was an invention by the
writers is a question the filmmakers never address, although on the DVD
commentary director Graeme Clifford states, "We didn't want to nickel and dime
people to death with facts." He also went on to remark that Lange hadn’t had to
"act" for the role in Frances. "She just let out all the stuff she
usually represses." My sentiments exactly. When you look at this photo of
Frances Farmer, you can see a strong resemblance to Lange.
The film opened to mixed reviews with complaints focused on
inaccuracies, such as the fictionalized lobotomy and the above mentioned
Harry York. In his review, Roger Ebert writes, "There are a few problems with
the film's structure, most of them centering around an incompletely explained
friend of Farmer's, played by Sam Shepard as a guy who seems to drift into her
life whenever the plot requires him." As to my own reaction, I kept questioning
their strange relationship.
Interesting that several actresses were considered for the
lead role including Jane Fonda, Sally Field, Natalie Wood, Susan Sarandon and
Meryl Streep. Though Lange received an Academy Award nomination for Best
Actress, it was Meryl Streep who swept up that Oscar for her role in "Sophie's
Choice". But all was not lost because Lange's role in "Tootsie" garnered her an Oscar
for Best Supporting Actress, often referred to as her consolation prize.
Personally, I thought the most pleasurable offering from the
film (besides the onscreen presence of Sam) was its soundtrack by John Barry.
The music is about as hauntingly beautiful as any ever written by this talented
composer. You can listen to the soundtrack
* * * * *
As reported on January 29, a limited edition of "Sam
Shepard: New Mexico" was released this month by Lawless Media. The 105-page
book, priced at $75, is a quirky ode to Sam by Galisteo publisher John Miller.
The limited-edition book gathers starkly powerful (meandering and sorrowful,
funny, frank and intimate) passages from Sam's work with a focus on those that
touch on the Land of Enchantment, where he lived off and on beginning in the
1980s. This special volume pairs Sam's writings with acclaimed artist Ed Ruscha
during their separate times in New Mexico. You can read an excerpt called "Pink
February 1, 2020
I used to live and work in Boston so I'm always connected to
the city's cultural events. The Boston Museum of Fine Arts will be screening
DAYS OF HEAVEN on February 28 and 29 in the
Harry and Mildred Remis Auditorium. The museum describes it as "a celebrated
example of the power of subtlety. Malick’s painterly use of light and atmosphere
has moved critics throughout the decades to describe Days of Heaven as
one of the most beautiful films ever made." I ask you who can't help but fall in
love with the looks of this rich and stoically handsome, but nameless farmer.
Jean-Claude van Itallie, playwright, performer, and teacher,
once said, "Many of us Greenwich Village playwrights were gay. Sam was
flamboyantly, abundantly straight. His ebullient sexuality was charismatic—you
could see it sparkling in his eyes, and it later helped make him a movie star.
Ellen Stewart, La MaMa herself, the living, beating heart of Off-Off-Broadway,
once remarked that Sam was like 'juicy Lucy,' as Ellen called the erotic urge,
flowing plentifully and creatively."
* * * * *
Here are a couple new photos of Sam at the Abbey Theatre in
Dublin meeting with young playwrights back in 2009.
* * * * *
Magic Theatre founder John Lion wrote a 1984 article
for American Theatre in which he gave some background on the poster and book
cover for Fool for Love featuring Elvis. Apparently, the famous candid
photo was taken on June 30, 1956 in Richmond, VA by Alfred Wertheimer. Lion
describes the photo - "On a glossy background and filling the cover page, in a
dark jacket and perfectly coiffed conk, was Elvis Presley in an early ’56 photo.
Tight in on him, nose to nose, her bare shoulder slightly pressed forward in
anticipation, with a slightly skewed bouffant and a diamond broach earring, was
a beautiful unidentified blond. And what was joining the two figures, in the
space between their faces, catching a little light and subtly glistening? Why,
"Believe it or not, when the show went from Magic Theatre to
Circle Repertory Company in New York, and the image was again used on the
poster, several shops refused to sell it, although The New York Times had no
problem printing the image."
Lion continues, "Elvis Presley and Sam Shepard signify a
change in the structure of American society that cuts much deeper than critical
catch phrases like 'the birth of rock and roll' or the 'death of the American
West.' To both Presley and Shepard is attached the idea of 'the noble savage.'
They both apparently came from nowhere, reached the top of their professions
with no formal training, rapidly became the stuff of popular myth. But beneath
each persona lies an objective, calculating artist who has basically altered the
way we look at things."
January 29, 2020
Lawless Media of Galisteo, New Mexico has announced the
upcoming publication of a new book by John Miller on Sam and artist Ed Ruscha.
The synopsis reads:
In 1963, artist Ed Ruscha photographed filling stations
from Oklahoma to LA. He published them in Twentysix Gasoline Stations,
generally considered the first modern artist's book.
Ruscha took 60 photographs which he edited to 26. The unpublished images
from New Mexico are reproduced here, from the artist's original negatives.
Sam Shepard, Pulitzer Prize-winning playwright, author, screenwriter, actor,
and director had a deep bond with Santa Fe, where he lived in the 1980s and
But Shepard had some nomad in him, and beginning with Motel Chronicles in
1982, he spent much time crisscrossing the deserts of New Mexico.
As Johnny Dark said: "He lived in Santa Fe, but he also lived in hotels and
on the road... He might have been running away or he might have been running
Twenty years earlier, traveling from Oklahoma to LA, the artist Ed Ruscha
traversed the same territory, creating ghostly images of New Mexico gas
Now, in this special volume, these two restless storytellers combine their
talents to paint a unique portrait of New Mexico.
The description does not mention the number of pages nor the
size of the book, but it appears to be more of a coffee table book with black
and white photos by Ruscha and quotes from Sam's writings about New Mexico.
A sample is given from Sam's "Motel Chronicles":
In Santa Fe they stopped long enough to gas up
and then headed north toward Chimayo.
The sweet smell of juniper blew through the open
Crows floated above the highway scanning for dead
lizards and rabbits.
The Black Mesa appeared on their left and they all
agreed that they understood why the Indians
considered it sacred.
But none of them actually explained why they thought
The event date for the book is listed as Saturday, March
14, 2020 at 3:00 pm at Bookworks, 4022 Rio Grande Blvd NW in Albuquerque,
January 12, 2020
Netflix documentary IT TAKES A LUNATIC profiles Wynn
Handman, who’s hailed as "the keystone of American theatre." He founded the
highly influential American Place Theatre in New York City, directing a number
of plays and he taught acting classes for more than 50 years. His former
students such as Richard Gere, James Caan, Michael Douglas, and Frank Langella
reflect on his influence on their careers as well as the theater community
through his desire to give opportunities to upcoming talent. You'll also spot
Sam Shepard in this film, which is currently available thru Netflix. Shepard
productions in the American Place's early years included 1967's "La
* * * * *
And speaking of "Killer's Head", the play has been announced
in an upcoming double bill by Odyssey Theatre Ensemble in Los Angeles. The
second half is his 1969 one-act "The Unseen Hand"
- that is part of the Odyssey's 50th Anniversary "Circa '69" Season of
significant and adventurous plays that premiered around the time of the
company's inception. Check for dates running from January 25 thru March 8 at the
theatre web site.
July-August 31, 2017
January - June 2014
January - June 2011
July - December 2010
January - June 2010
July - December 2009
January - June 2009
July - December 2008
January - June 2008
November 2005 - December 2006