Words mattered to Shepard. Across more than 50 plays,
film work as actor, writer and director, and volumes of
poetry, fiction and memoir, Shepard cultivated the image
of an intensely private man of few words, from whom vast
torrents of words, tsunamic waves of them, could rush.
That doubleness was part of his appeal to critics and
writers who "got" him: I've been struck, in the days
since July 27, when Shepard died at 73 of amyotrophic
lateral sclerosis, by how many who wrote about him and
spent time with him, felt a unique and personal
connection.
"Sam and I had a good relationship," says Bernard
Weiner, drama critic of the San Francisco Chronicle
during the decade from 1975-1984 when Shepard was in
residence at that city's Magic Theater. Among others,
"Buried Child", "True West" and "Fool For Love" were
first produced there. A poet and author very much in
synch with the playwright, Weiner understood Shepard's
wider appeal.
"I think he felt that his work was being reviewed fairly
by someone who understood and respected what he was
about," Weiner recalled. "And he tolerated our
occasional interviews because they were more friendly
conversations between theater professionals than generic
question-and-answer sessions. To this point, we had a
20-minute dialogue once about Samuel Beckett, whom he
revered. He definitely was a private person but also was
amazingly open when he felt comfortable with his
interlocutor. We all were lucky to have had him in our
midst for such a long, productive time."
Veteran actor Jay O. Sanders played Bradley in the
original production of "Buried Child", which moved from
the Magic to New York, where it ran first at the Theatre
de Lys (now the Lucille Lortel) and then at Circle
Repertory Theatre.
"Sam didn’t fly, so he wasn’t around at all," Sanders
says of the transfer, "but our cast of 'Buried Child'
came together in Sam's world like a real family under
Robert Woodruff's direction. The Pulitzer win was
announced the day after we closed at the Theatre De Lys.
I most remember the overarching sense of freedom in our
nightly playing of it, and the idea that memory is so
elusive that each of our characters remembered our past
very differently…the truth of our very lives was up for
grabs."
Trying to pin down Shepard was the sport of every writer
who tackled the subject.
"I was asked to write a quickie bio by Dell Books to
capitalize on the Oscar nomination for 'The Right Stuff'
and the tabloid interest in his nascent affair with
Jessica Lange," says Don Shewey, who turned out the
first look at off-Broadway's enfant terrible turned
emergent Hollywood icon. "I took the assignment for two
reasons: I admired the crazy rock-n-roll energy and
poetic theatricality of his plays, and I identified with
him personally as a guy with a tempestuous relationship
with his alcoholic military-veteran father."
It was several years before Shewey finally met his
subject in person, resulting in more published
interviews.
"What I relate to most is his profound understanding of
being psychically split between what happens outside and
what happens inside," Shewey told me. "What I learned
was that he was profoundly a man of letters, extremely
knowledgeable about certain pockets of poetry and
international literature. It's not surprising that
Shepard had a lifelong love for horses. Much less known
is his deep engagement with spirituality and philosophy,
especially the teachings of Gurdjieff, a subject so
close to his heart that when I interviewed him it was
the one thing he wouldn't discuss."
I too had a couple of memorable opportunities to speak
with Sam Shepard. The first time was in the late '70s,
after an opening when he stayed around as part of the
Magic family. Screwing up my courage, I introduced
myself, and somehow the subject quickly turned to the
Bible, about which he was extremely knowledgeable. Some
three hours and many drinks later, we'd covered
territory ranging from Abraham’s sacrifice of Isaac, to
Job, Jonah and other prophets. It won't surprise anyone
familiar with his plays that father-son relationships
figured heavily in Shepard's iconography and the
symbolism that pervades his work, reminding me of
Edward's monologue in King Lear."
I spent a more extended time with him much later,
discussing his work at the American Place, where he'd
returned in 1991 with "States of Shock", an explosive
outburst of a play starring John Malkovich and concerned
with the Persian Gulf war. While it would take years for
others to confront America’s military incursion, Shepard
was on fire.
"He said it was the most important thing, that he needs
to do this play right now," Handman recalls. "Sam had
that urgency, and his urgency was irresistible. He had
to get that play done. It was of utmost importance."
"It’s a very strange experience, to write a biography of
someone who's still alive" Shewey said of taking on that
original assignment. "Sam was 41 and I was 30. His death
last week hit me hard. Like his colleagues and fans, I
mourn the world's loss of an epochal original writer. On
a personal level, I wasn’t prepared for how keenly I
feel the loss of…not so much my subject, but a kind of
alter-ego."
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