Tag Archives: Samuel Beckett

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“The War in Heaven”: Steve Kent and Sam Shepard (1943-2017)

Monday, July 31, 2017
In Memory of Two Poets of the Theater: Steve Kent and Sam Shepard (1943-2017)

In addition to canonical favorites such as Ibsen, Pirandello, and Strindberg, I had been primarily reading contemporary playwrights such as Edward Albee, Samuel Beckett, and Harold Pinter when I moved to Los Angeles at the age of 20. In the winter of 1969, a graduate student named Lynn (“Scotty”) Mason at UCLA posted an announcement that she was casting actors for a student production of a one-act play entitled Icarus’s Mother by Sam Shepard. I had not heard of Shepard or this play, but was fortunate enough to be cast in the role of Frank, the man who recounts an apocalyptic vision as a holiday picnic implodes. It was a prose poem of a high order, and I began to read as much of Shepard’s writing as I could get my hands on, as well as other playwrights he was aligned with. By chance, during the summer of 1969, I acted in a student production of Futz and took a course that concentrated on off-off-broadway playwrights, during which I became familiar with the work of Rochelle Owens, Megan Terry, Irene Fornes, Adrienne Kennedy, Lanford Wilson, and Jean-Claude Italie. Along with other students dissatisfied with the kind of plays the theater department was presenting on its main stage, I formed a theater group called “The Fifth Corner” and we rehearsed off-campus for our adaptation of Anne Sexton’s poem, “Flee on Your Donkey.” After graduation I went on to act with two other theater groups in Los Angeles, one of which included OOB playwright Robert Patrick’s Cheep Theatrics, starring Julie Kavner (future voice of Marge Simpson).

I never again acted in a play by Shepard, although I certainly saw enough productions of his plays. As famous as he was among theater people, one must understand that public attention and interest in Shepard’s work in the mid-1970s was relatively muted. I remember a production of Curse of the Starving Class at a small theater in Hollywood in the late 1970s, for instance, in which only half the seats were filled, and the same was true of a production of Action at the Burbage Theater around that time. In many ways, it was the devotion of working people in the small theaters who made the case for Shepard’s writing, and not just theaters in New York. The importance of theaters in California is most particularly evident in Shepard’s development, for it was during his residence in Northern California that he began come to terms with his youth in Southern California.

The people I know who worked with him all bespoke of his influence in their lives as well as their work, and I would not be the writer I am today without having encountered writers such as Walter Hadler and Murray Mednick at the Padua Hills Theater Workshop in the late 1970s and early 1980s. Shepard himself taught at the first gathering of that group of playwrights, and had a play he wrote called Red Woman produced there. Padua Hills remains for me the quintessential quest to understand what it is that makes theater theater and not just an entertaining game of “let’s pretend.” Its direct impact on my poetry and poetics is impossible to overemphasize.

The poet William Matthews once observed that there is more talent on exhibit at age 30 in any given generation than achievement at age 60. I suppose that’s one way of separating the highest levels of accomplishment from the merely competent, for not only had Shepard produced a memorable body of work by age 60, one of his very best plays had its premiere performance the month before he turned 61. I saw a production of The God of Hell at the Geffin Playhouse in the summer of 2006, and it only reinforced my belief in his capacity to see into the interstices of human contradictions in a manner befitting a major artist.

It should be mentioned that Sam Shepard was not the only person in his birth family who worked in theater. His sister, Roxanne Rogers, is also a playwright and director as well as an actress. I saw one of her plays, directed by Ivan Spiegel, at the Burbage Theater in West Los Angeles, after it moved from Pico Blvd. to Centinela. After the play was over, I went backstage to talk to Ivan, and we found ourselves in the alley behind the theater. Roxanne joined the group with an older woman whose blue eyes registered a singularly discerning glow. “This is Roxanne’s mother,” Ivan said. We talked briefly, and all the while I had to withstand the temptation to tell her how much her son’s plays meant to me; but it was Roxanne’s evening, and I focused on her play, which had had a scene in a loft built on the stage that made the voices and lines of the characters ricochet back and forth the stage, as if some pent up realization were emerging from a thicket. You can find an article about Roxanne Rogers’s direction of Murray Mednick’s play, “Mrs. Feurstein,” at:

Mrs. Feuerstein

Shepard, however, is not the only loss that the theater world has gotten news about: Steve Kent has also died, and not nearly enough has been said about his contribution to theater in Los Angeles and other areas of the country. Kent was one of the founders of the Company Theater and the Provision Theater, which staged plays in the late 1960s and 1970s that still glow in the memories of those fortunate enough to have been present. Anyone who took part in The James Joyce Liquid Memorial Theater or who saw The Emergence knew that what it meant for the audience to be part of the conscious journey of performed vision. Steve Kent was a brilliant director, and he is enshrined in my heart every bit as much as the author of Angel City and the The Tooth of Crime.

Indeed, both Shepard and Kent shared a common collaborator, Joseph Chaikin, founder of the Open Theater. Kent adapted Beckett’s writing into a brilliant stage piece (Texts) as well as worked with Chaikin’s on Shepard’s The War in Heaven, which Shepard specifically wrote for Chaikin. To speak of the sadness I feel in Shepard’s passing is inseparable from the jolting pang of Steve Kent’s death.

I sit in silent homage.

Director, Educator, Activist Steven Kent (1943-2017)



Poetry Presidental Election

Bob Dylan and the Nobel Prize (Part Two)

Monday, October 17, 2016

I went over a list of winners of the Nobel Prize in recent decades the other night and found many admirable and extraordinarily deserving authors: Gabriel Garcia Marquez, Octavio Paz, Harold Pinter, Wislawa Szymborska, VS Naipaul, Samuel Beckett, Toni Morrison. Unfortunately, Graham Greene and Robertson Davies were not listed.

On the other hand, I also found that Joseph Brodsky, Derek Walcott, and Seamus Heaney were given this honor. Anyone complaining about the selection of Bob Dylan needs to be sentenced to six months of reading only the poetry of these three poets. Nobody else. Just these three. Brodsky for a week. Walcott for a week. Heaney for a week. Repeat again, then get serious. Brodsky for two weeks, Walcott for a pair, followed by Heaney for a pair.

In contrast, I could maintain an exclusive, six-month reading regimen with any three of the first set of writers I listed: Paz, Szymborska, and Morrison, for instance. Or Naipaul, Beckett and Marquez. Six steady months of that rotation and I would come out of it a better writer and reader. Six months of Brodsky, Heaney, and Walcott would leave me desolate and bored. Numbed by the anesthesia of imaginative vacuity. Heaney’s “Digging” is an example of a so-called canonical poem I dread teaching. The equation of the pen with the shovel? Did no one who read an early draft of this poem point out to Seamus how obvious, how unsurprising, this is? I do want to emphasize that I have given Heaney a more than generous amount of my time and attention in considering his work. Despite my misgivings about the quality of his poetry, I did attend one of his readings once, when he appeared at UCSD after winning the Nobel. Unfortunately, his poems were just as safe and banal as I anticipated.

As much as I find Heaney’s poetry uninspiring, I would never engage in the kind of ad hominem attack that implicitly accuses Bob Dylan of being responsible for the rise of neo-fascist politicians in the United States. “A world that gives Bob Dylan a Nobel Prize is a world that nominates Trump for president,” wrote Mr. Tim Stanley (The Telegraph, October 13). Excuse me, but Dylan’s accomplishment in setting poems to music is no more responsible for Trump than Seamus Heaney’s devotion to his art was responsible for Margaret Thatcher.

The conflation of Bob Dylan and Trump is an outrageous smear, and Mr. Stanley reveals himself to be a more feasible applicant for a position as an advisor to Mr. Trump than a reliable cultural critic. Would it not be far more accurate to say that a world that awards Bob Dylan the Nobel Prize for Literature is a world that elected and re-elected Barack Obama, and will soon affirm Hillary Clinton to be his successor? Bob Dylan’s writing does not diverge into a pair of roads, one leading to Trump and the other leading to Obama and Clinton. You don’t need a weatherman to know which way the wind blows.