Eddie: “She’s just standing there, staring at me, and I’m staring back at her and we can take our eyes off each other. It was like we knew each other from somewhere but we couldn’t place where. But the second we saw each other, that very second, we knew we never stop being in love1.
Sounds romantic, doesn’t it? The love of Eddie and May, the central characters, does have its share of romance but the words dangerous, doomed, volatile, and visceral may more adequately describe the oscillating storm of their connection. As when the orbits of two planets intersect, attraction yields devastation.
1: a person lacking in judgment or prudence
2: a: a retainer formerly kept in great households to provide casual entertainment and commonly dressed in motley with cap, bells, and bauble
b: one who is victimized or made to appear foolish : a dupe
3: a: a harmlessly deranged person or one lacking in common powers of understanding
b: one with a marked propensity or fondness for something <a dancing fool> <a fool for candy>
4: a cold dessert of pureed fruit mixed with whipped cream or custard
Whereas I think the fourth definition is HILARIOUS, it seems that Eddie, May, the Old Man and most any of my readers would agree that they, and we, are often if not chronically “fools” for love. We enter into love with a “marked propensity or fondness for something (or someone),” and become a “harmlessly deranged person or one lacking in common powers of understanding.” When things break bad, and we feel as if we are “dupes, victimized or made to appear foolish.” Often despite the humiliation or even danger, to Love we become the motley fool “kept in (its) great household to provide (its) casual entertainment.”
Perhaps this is best left to the theatre professors, but Shepard has a knack for creating a new mythology. As in Tooth of the Crime, Buried Child and Curse of the Starving Class, Shepard expands archetypes into extraordinary icons. Just as the sins of the father become an ever-present overlord in our fated struggle, the ghostly Old Man (father to both Eddie and May) literally holds court as his fools “provide casual entertainment.” He serves as a fusion of post-realist and Greek theatrical traditions in the dual role of cautionary chorus and omniscient but ambivalent god. Eddie and May are both familiar and tragic heroes headed for cyclical fates. Martin, May’s naïve first-date gentleman caller, is simply a foil, catalyst, and innocent traveler trapped in the tempest of a natural disaster.
On the surface this play is straightforward with simplistic production requirements:
Cast: 3 men (30s-70s) / 1 women (30s)
Set: “Stark, low-rent motel (room) on the edge of the Mojave Desert”
Costumes: Contemporary, western
Royalties: $100/performance, plus suggested use of 2 Merle Haggard tunes
On further reading, the production becomes even more demanding. Fool for Love requires two strong leads in 30’s that must develop the depth of a 15-20 year complicated relationship. The set includes two doors that are “amplified with microphones and the bass drum head in the frame so that each time after (an actor) slams it, the door blooms loud and long.” It might be replaced by a sound effect, but this could easily violate Shepard’s intention to communicate the power of Eddie and May’s relationship in terms that are literally tangible to the audience, and directly and immediately connected to characters’ behaviors. Attempting to accomplish this play without physically trained actors and an experienced stage combat choreographer is foolish as it would guarantee injuries and unpredictable destruction of properties and set pieces. No organization can afford either.
Censorial concerns: 24 instances of language and phrases considered profane including “fuckin’(1),”; “twat(1),” “pussy (2)”, “goddamn (3),” “shit(5),” and crude references to sexual intercourse (2). Strong domestic violence; no sexual abuse.
Renowned as a canonical American author
Cannes Palme d’Or
OBIEs for “Melodrama Play” (1968), “Cowboys #2” (1968), “The Tooth of the Crime” (1972).
Received grants from the Rockefeller and the Guggenheim Foundations
Drama Desk Award and a New York Drama Critics Circle Award for Best New Play: “A Lie of the Mind” (1986)
Adapted into a 1985 motion picture starring Sam Shepard, Kim Basinger, Harry Dean Stanton, and Randy Quaid4
Original production starred Ed Harris and Kathy Baker1
New York, London
Williamstown Theater Festival in Williamstown, MA on July 24, 20145
Recommendation: STRONG with caveats. Sam Shepard is quite possibly our greatest living American playwright. The setting is rural (not NYC!). The theme of destructive and unavoidable power of attraction is timeless. The central acting parts are epic. You may be lucky enough to have a certified combat choreographer in your ensemble, the budget to hire one, or even have the fortune to have her/him direct or star in your production.