The Late Henry Moss
Opening Night: July 11, 2010
Closing: August 10, 2010
Theater: The 45th Street Theatre
Memories and mystery entangle two estranged brothers as they confront both the recent and distant past, piecing together the circumstances of their father’s death in a seedy bungalow in the New Mexican desert.
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August 1, 2010
Breathing and yelling. Or so says one character in Sam Shepard’s 2000 play “The Late Henry Moss.” If that’s the standard, Christine Ann Sullivan’s production at the 45th Street Theater, part of the Michael Chekhov Theater Company’s Shepard festival, surely has a pulse. There’s yelling aplenty, not to mention fighting, pounding (on the table, on the stove, on the floor) and — it’s right there in the script — a curious amount of sniffing and smelling. (The play could have been called “The Scent of a Man.”)
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August 2, 2010
If you wanted to sum up Sam Shepard’s playwriting in a single concise phrase like the Pinteresque Pause or Mamet Speak, I suppose it would be something like Shepardscape for the landscape he has staked out to explore his concerns. Shepard’s most recent play, The Late Henry Moss, contains enough of the hallmarks of his best known works that he might be accused of copying from himself: brothers whose relationship is volatile enough to require a fight director to orchestrate their interaction. . .the gray grimness of an underfurnished adobe bungalow in sharp contrast to the New Mexico sun peeking through its single window. . .a mystery story that is as often absurdly hilarious as it is sorrowful. It’s the stuff that gives this and previous Shepard plays the sense of being part of a continuous saga which the death of the recurring father figure is apparently bringing to an end.
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