theatre review: buried child by sam shepard
Winner of the 1979 Pulitzer Prize for Drama, Sam Shepard’s Buried Child is a story about a family with a secret, a dark skeleton in the closet that the whole family remembers but no one will talk about. Set in rural America in dried-up farming country, the story revolves around the return of Vince (Tim Overton) to his grandparents’ home, his arrival with friend Shelly (Hannah Norris) prompting the uncovering of the family’s secret.
Designer Mary Moore has created a decaying shell of a house to mirror the family’s own unravelling, a large staircase leading (seemingly) to nowhere a feature point used extremely effectively in the chilling final scene. Mark Pennington’s lighting, subtly changing with the mood, helps to underscore the action, and while Quentin Grant’s score mostly adds to the unsettled feel of the play, at times sound effects – such as an overly ominous creak played when a door slowly opens – feel too laboured and detract from the moment.
The cast put in a mostly strong performance, although differing American accents did add a level of confusion. Nicholas Garsden’s Tilden is a particular standout, his lumbering depiction of the emotionally challenged character key to many important moments. The final scene in particular proves Garsden’s skill as he returns to the house with a silent offering. Norris’ Shelly is wonderfully lively, adding interest even when the play itself is slow (as it unfortunately is, particularly in the second act).
With the story being as intricate as it is, it is clear that Shepard wanted to raise many questions. However, something is confused in director David Mealor’s execution and instead of only questions about secrets and the nature of family, unwanted questions about aspects of the story are also raised. It is the cast that saves the play, all working together to create the broken atmosphere and playing off each other well. And, as much as it has already been mentioned, Tilden’s last action is disturbing enough to distract from other shortcomings.
State Theatre have created another long play – a 90 minute act before the interval could be a challenge to some, and it feels like overall it does need to be shortened. It is interesting that another old, foreign play has been offered as relevant and modern, and it could be said that while Buried Child is an entertaining examination of family, it is nonetheless neither of those two things. Perhaps my youth is working against me, but as much as I could appreciate the story and the acting, I couldn’t see the importance of this to an Australian audience; instead, I saw a dated (if interesting) production that is wholly American in its depiction. That is the barrier that the audience will face – to cross the line and accept the messages portrayed, or to observe the action at an arm’s length. For me, the distance was too far to travel.
Buried Child is playing at the Dunstan Playhouse until October 2. Tickets from $29 at Bass.
(Photo credit: Shane Reid.)
