Opening with the calming sound of wind sweeping across the plains, Flyin’ West is pure Americana, evoking the broad grandeur of big skies and big hearts full of freedom. It is 1898, and a chosen family of black women have settled in the all-black town of Nicodemus, Kansas. American history in most classroom settings rarely acknowledges the existence of African-Americans outside of slavery and the Civil Rights Movement, yet the Backstage Guide provided by American Blues Theatre in conjunction with the production, does a wonderful job of correcting this history of erasure. Continue reading “Black Women Forgotten By History Soar in “Flyin’ West””
“I thought I was dying but I just lost my voice.” – Tilden, Sam Shepard’s Buried Child.
This line perfectly describes the devastating loneliness that reverberates throughout Sam Shephard’s Buried Child, currently playing at Writers Theatre. The large house is empty at top of show except for the elderly Dodge (Larry Yando) who is coughing and watching TV all alone as rain falls outside. Dodge looks up at the roof to listen to the rain, which is wonderful because there is no roof in the living room of Jack Magaw’s set. In fact, the entire front of the home is excavated like an ancient archaeological site, preserved so we can see the relics inside. Adding to this jagged, exposed feeling is a massive crack that runs through the middle of the floor. Largely ignored by the family that resides in the house, I could not help but notice that the two outsiders in the play either noticed or tripped over the crack. Continue reading “Nostalgia Consumes in a Fiery ‘Buried Child’”