Recently I had the opportunity and privilege to attend OpenStage Theatre & Company’s etcetera production of Sam Shepard’s Fool for Love, performed at ArtLab of Fort Collins. The etcetera productions are quickly becoming some of my favorite productions to see in the Ft. Collins area. It is the endeavor of etcetera to produce raw, intimate, cutting-edge theatre in non-traditional spaces. I love the use of non-traditional spaces, and audience seating in the theatre. Fool for Love did not disappoint in this regard.
For those of you who have not been in the ArtLab space, it is a single story, open business space in Old Town Ft. Collins. Director James Burns elected to set up the audience in an alley configuration, with the audience on two sides of the playing space, and the building walls making up the other two sides. The intimacy between cast and audience was undeniable, we were close enough to see beads of sweat on the actors, hear them breath, and feel them consider each moment.
The play begins with Eddie, played by Andrew Cole, and May, Teal Jandrain, sitting in an uncomfortable silence as Eddie, a cowboy and stuntman is oiling a strap of leather. Both clearly waiting for the other to speak. The silence and tension build until Eddie at last speaks, attempting to console May. When she continues to ignore him, he threatens to leave, and we are off. It is revealed that the two have a tumultuous relationship that neither wants, nor do they want it to end. Both threaten to leave repeatedly throughout the play, utilizing long hallways created by the audience on either side. May retreating to the bathroom, Eddie to his pick-up in the parking lot. All the while an Old Man, played by Mark Terzani, sits in a rocking chair sipping alcohol from a Styrofoam cup, a ghost of someone Eddie and May both know. When it seems that things can’t get any more uncomfortable for the two, May’s new beaux Martin, played by Dan Muth, arrives to take May to the movies.
Andrew Cole’s Eddie is an over confident, intimidating character so certain of himself that nothing seems to faze him, including the revelation of Martin. Instead of becoming angry, or threatening Cole utilizes his size and confidence superbly to fluster both May and Martin in ways that are both comical, and intriguing.
Teal Jandrain as May is as manic as Cole’s Eddie is confident creating a wonderful juxtaposition between the two characters. The speed at which Ms. Jandrain turns from fragility to ferocity is a thing to be celebrated. It delightfully demonstrates the characters need to both have and be rid of her connection to Eddie.
Mark Terzani as the Old Man was a personification of the ghost of someone’s past. Rarely leaving his chair, his rhythmed rocking was one of the few dependable constants of the show. Never distracting from the action of the stage, until necessary. When Terzani chose to stop rocking, he helped to heighten moments of tension between Eddie and May.
Dan Muth’s Martin was delightfully crafted. Arriving later in the play, he provides a much-needed breath of humor. With few lines, Muth’s ability to craft deep and meaningful characters comes from his ability to listen and respond non-verbally, something that can be incredibly difficult to do onstage. Poor Martin is a tool used by May to get a rise out of Eddie. Within the tension created by his arrival, Muth brings a light hearted, yet deep degree of confusion to the character. Poor Martin is left to process a massive amount of information, and Muth allows us as an audience to witness and participate every moment with him.
Victoria Villalobos has created a wonderful sound design that enhances Sam Shepard’s simple and gritty world. Sound cues never felt distracting, or unintentionally jarring. Instead, they helped to tell the story, helping us move forward aurally.
David Grinnell’s light design was simple and supportive to the play. A healthy balance of warm and cool lights from the corners of the space helped create the feel of a dingy, yellowed motel room, without creating a look of illness on the actors faces. In utilizing a simple design, he also allowed some wonderful and creative moments that delightfully demonstrate that expensive equipment is not always needed for fancy effects.
While the scenic design easily achieved the look and feel of a run-down motel on the edge of the Mojave Desert, it seemed hurried in design, and fought against the alley configuration of the audience. One of my favorite elements was the use of the ArtLab’s walls. Instead of a multitude of motel artwork hanging on the walls (there were enough to establish place) we could celebrate the cracks and holes in the walls from previous events. These (un)intentional elements added a delicious flavor to the room.
With many elements that should to celebrated in this production, I was left wanting more from the production. There was a lack of danger for the characters. As often as Eddie threatened to leave, I was never worried that he would, nor did I believe that May thought he would. The arguments felt tired instead of driven by the intentions that this would be the last time. I found myself asking why do Eddie and May need each other so desperately? I felt safe instead of uncomfortable.
As noted above, I love the non-traditional use of an alley seating style, but it has unique challenges regarding sight lines. I understand in such an intimate playing space, not to expect to see everything, but from where I sat, much of the action of the play was closed off due to actor’s proximity to one another. As the play progressed, and more action was delivered to a wall, or an isolated section of the audience, it felt as though the piece had been directed with a traditional proscenium stage in mind, and the staging was adjusted to the alley last minute.
Despite my objections to the direction of the play, I strongly suggest seeing Shepard’s glimpse into the desperate, confuse, and unhealthy relationship within this story of two fools desperately in love with each other.
Fool for Love runs through March 23, 2019 at the ArtLab of Fort Collins.
Show dates and Times
March 17, 21, 22, and 23 at 7:30 pm
Tickets can be purchased at Openstage.com or at the door.
