Buried Child
I don’t understand Sam Shepard. At least I think I don’t; I’m not really sure. There’s nothing particularly obtuse about each of the events in the play, Buried Child, as they develop in this well-acted drama. My confusion is trying to piece it all together. In my quest I have read numerous synopses and reviews, which have brought me no closer to a conclusion on this play’s meaning. That being said, Buried Child, directed by Scott Elliott, is a captivating 110 minutes of dysfunctional and, at times, humorous family drama.
Ed Harris as the patriarch, Dodge, is commanding - even in the moments when he is silently sitting on the sofa (as he is positioned while the audience files into their seats). Amy Madigan as his wife (in real life Ed and Amy are husband and wife), Halie, fills the air with anticipation as a large portion of the opening scene unfolds with her being heard but not seen. Vince and his girlfriend Shelly, played by Nat Wolff and Taissa Farmiga, are the closest anyone comes to being the “normal” members of this family. Vince, the visiting grandchild, is not recognized by his family members. His prolonged absence during the middle portion of the play may even make us wonder if he exists. Is he a ghost?
The two sons, Tildon, played by Paul Sparks (well known to House of Cards and Boardwalk Empire fans), and Bradley, played by Rich Sommer (well known to Mad Men fans), round out this collection of guardians of the dark family secret.
Vince’s unawareness of this secret is perhaps what makes him unrecognizable to the others. It is harvest time for the barren field in the back yard, and the crops arrive in waves through the course of the play. It is the final harvest that brings this story to its dramatic conclusion.
The Pulitzer organization gave this story its highest award for drama in 1978. You decide what it all means.
This play was presented by The New Group at The Pershing Square Signature Center. The New York theater industry is catching on to the fact that the theater can offer more than a seat and a playbill. The building is a wonderful environment that fully fits into the “come early and stay late” mentality of some of today’s theaters. There is a large and friendly bar, numerous choices for light fare, and comfortable seating clusters.
Plenty of room to eat and drink.
An added feature at our performance was the availability of the actors who wasted no time in joining the crowd for after show discussion (see photo). Ed Harris is way cool. Nat Wolff was warm and open in his willingness to greet members of the audience. The lounge is such an improvement over the endless standing around on the cold New York sidewalks behind the velvet rope for fans who want to catch a glimpse of the evening’s performers. Bravo to The New Group and all its members.
Ed Harris after the play.
Review by JMG
Side Notes:
Our pre-theater lunch was at Chez Josephine, a New York staple since 1986. This is an extremely well-located institution for the numerous venues on Theater Row. The Prix Fixe menu is tasty and a great value. The servers will always be sure to get you to your seat on time.
The dining room is both cheerful and elegant.