Word: shepards
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Dates: during 1980-1989
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Meanwhile, Cal Cunningham (Sam Shepard), an unruly young man rebelling against an evangelical upbringing, aggressively courts Edna's love and, after several rebuffs, meets with success. Initially cynical about Edna's power, Cal witnesse miraculous recoveries that convince him Edna is on a divine mission--'You keep denyin' the Lord? you got to declare He's comin'. You are the living Christ. You are the Resurrection...
...Shepard, better known as a playwright than as an actor, successfully portrays Cal's violent transition from skeptic to zealot. Shepard's brooding, understated intensity adds a dash of noir to the film...
...brush with death, who restores health "in the name of love." Love is all she wants to give to the two men in her life: her stern pa (Roberts Blossom), who responds to her proffered caress both as a seduction and a slap, and a young rake (Sam Shepard), who is at first liberated by her power and then consumed...
...Benji-type mutt is pouring itself a tub of bathos. One actor falls in: Roberts Blossom, whose Old Testament gaze and sucked-in gums make the American Gothic farmer seem as jolly as a game-show host. But most of the performers bring craft and conviction to their roles. Shepard is especially fine. This gifted young playwright, whose works show an inside knowledge of America's prodi gal sons, now threatens to become a movie star. His whip-thin body coils itself around a character. In this difficult, not altogether plausible part, he menaces and mesmerizes...
This particular version of hell is brought to you by director Vincent Murphy, who gave us an intriguing interpretation of Sam Shepard's Curse of the Starving Class last spring at the Suffolk University Theater. Many elements of the Murphy style have carried into this Boston Shakespeare Company production, most notably a preference for stylized gesture and loose body movement that suggests an undercurrent of sexuality. From Shepard to Shakespeare is quite a leap, however; and whereas the looseness provides some fine moments (a giddy Macbeth sprawling pitifully on the ground while plotting Banquo's death), the stylization produces tiresome...