GEOGRAPHY OF A HORSE DREAMER
by Leigh Kennicott – Stagehappenings
The subject of Geography is not an American strong point, but Moth Theatre’s energetic Geography of a Horse Dreamer more than makes up for the deficiency. Playwright Sam Shepard’s early operatic writing soars above any terrain while reciting images of wide expanses juxtaposed by the actual surroundings of the piece – a claustrophobic flophouse, then a better room, both in unknown locations.
It’s fascinating to note that from this distance of some 35 years, Shepard has reiterated the theme time and again of rootless artists who are enslaved in some way. Here, his central character, Cody (played by Kris Lemche) is blindfolded and handcuffed to a ratty bed in hopes that he will produce a roster of winning horses for the benefit of his off-stage benefactor, “Fingers” (Dov Tiefenbach) aided by thuggish keepers, Beaujo (John Markland) and Santee (Scoot McNairy).
Thus, the thematic search for roots in a senseless world meanders and reappears in even more guises. Rebelling against the predominate well-made plays of the early 60s, Shepard’s writing resists structure, and Moth Theatre director Jamie Wollrab echoes this mandate with a “blockless” technique that asks the actors to create their own stage pictures in order to preserve the integrity of their dramatic truths. For the most part, the technique works. There is only one spot at the end of act two when actors bunch up on one side of the stage to do some major damage to each other in Shepard’s explosive ending. But its hard to mess up a stage picture that features the main character chained to a bed at stage center.
Wollrab’s cast wholeheartedly embraces Shepard’s vision. Lemche handles the ariatic monologues superbly and his two bodyguards are well delineated by the bombastic McNairy and the quieter John Markland. A number of hangers-on bring the play to its unpredictable conclusion. Here the cast works to lessening effect. On opening weekend, the auxiliary players seemed under-rehearsed. Tiefenbach as Fingers plays against type, while Thurn Hoffman as the doctor is a towering menace. The actors playing Waiter, Jasper and Jason are all underused in the narrative, and thus without much of a platform for their art.
The production staff has labored admirably, doing much with little. Set designer Kathleen Heffernan’s design extends the stage walls and Tayla Ealom’s props populate it realistically; lighting designer Bosco Flanigan works miracles while Patrick Jansson’s sound design fills in the rest. By and large Louise Munson’s costumes are fine, but ill-fitting clothing may indicate a sudden change of cast rather than inattention to fine details.
