A newly revised edition of an American classic, Sam Shepard’s Pulitzer Prize—winning Buried Child is as fierce and unforgettable as it was when it was first produced in 1978.
A scene of madness greets Vince and his girlfriend as they arrive at the squalid farmhouse of Vince’s hard-drinking grandparents, who seem to have no idea who he is. Nor does his father, Tilden, a hulking former All-American footballer, or his uncle, who has lost one of his legs to a chain saw. Only the memory of an unwanted child, buried in an undisclosed location, can hope to deliver this family from its sin.
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SAM SHEPARD was the Pulitzer Prize–winning author of more than fifty-five plays, three story collections, and two works of prose fiction. As an actor, he appeared in more than sixty films, and received an Oscar nomination in 1984 for The Right Stuff. He was a finalist for the W. H. Smith Literary Award for his story collection Great Dream of Heaven. In 2012 he was awarded an honorary doctorate from Trinity College, Dublin. He was a member of the American Academy of Arts and Letters, received the Gold Medal for Drama from the Academy, and was inducted into the Theater Hall of Fame. He died in 2017.
Buried Child, the revised edition, was produced on Broadway at the Brooks Atkinson Theatre by Frederick Zollo, Nicholas Paleologos, Jane Harmon, Nina Keneally, Gary Sinise, Edwin Schloss, and Liz Oliver on April 30, 1996. The production transferred from the premiere production at Steppenwolf Theatre Company (Martha Lavey, Artistic Director; Michael Gennaro, Managing Director) in Chicago, Illinois, which opened on October 1, 1995. It was directed by Gary Sinise; the set design was by Robert Brill; the costume design was by Allison Reeds; the lighting design was by Kevin Rigdon; the sound design was by Rob Milburn; and the production stage manager was Laura Koch. The cast was as follows:
DODGE James Gammon
HALIE Lois Smith
TILDEN Terry Kinney
BRADLEY Leo Burmester
SHELLY Kellie Overbey
VINCE Jim True
FATHER DEWIS Jim Mohr
Buried Child was produced at Theater for the New City, in New York City, on October 19, 1978. It was directed by Robert Woodruff. The cast was as follows:
DODGE Richard Hamilton
HALIE Jacqueline Brookes
TILDEN Tom Noonan
BRADLEY Jay O. Sanders
SHELLY Mary McDonnell
VINCE Christopher McCann
FATHER DEWIS Bill Wiley
Buried Child received its premiere at the Magic Theatre, in San Francisco, California, on June 27, 1978. It was directed by Robert Woodruff. The cast was as follows:
DODGE Joseph Gistirak
HALIE Catherine Willis
TILDEN Dennis Ludlow
BRADLEY William M. Carr
SHELLY Betsy Scott
VINCE Barry Lane
FATHER DEWIS Rj Frank
CHARACTERS
DODGE in his seventies
HALIE Dodge's wife; mid-sixties
TILDEN their oldest son
BRADLEY their next oldest son, an amputee
VINCE Tilden's son
SHELLY Vince's girlfriend
FATHER DEWIS a Protestant minister
Act One
Scene: day. Old wooden staircase down left with pale, frayed carpet laid down on the steps. The stairs lead offstage left up into the wings with no landing. Up right is an old, dark green sofa with the stuffing coming out in spots. Stage right of the sofa is an upright lamp with a faded yellow shade and a small night table with several small bottles of pills on it. Down right of the sofa, with the screen facing the sofa, is a large, old-fashioned brown TV. A flickering blue light comes from the screen, but no image, no sound. In the dark, the light of the lamp and the TV slowly brighten in the black space. The space behind the sofa, upstage, is a large screened-in porch with a board floor. A solid interior door to stage right of the sofa leads from the porch to the outside. Beyond that are the shapes of dark elm trees.
Gradually the form of dodge is made out, sitting on the couch, facing the TV, the blue light flickering on his face. He wears a well-worn T-shirt, suspenders, khaki work pants, and brown slippers. He's covered himself in an old brown blanket. He's very thin and sickly looking, in his late seventies. He just stares at the TV. More light fills the stage softly. The sound of light rain. dodge slowly tilts his head back and stares at the ceiling for a while, listening to the rain. He lowers his head again and stares at the TV. He starts to cough slowly and softly. The coughing gradually builds. He holds one hand to his mouth and tries to stifle it. The coughing gets louder, then suddenly stops when he hears the sound of his wife's voice coming from the top of the staircase.
HALIE'S VOICE: Dodge? (DODGE just stares at the TV. Long pause. He stifles two short coughs.) Dodge! You want a pill, Dodge? (He doesn't answer. Takes a bottle out from under a cushion of the sofa and takes a long swig. Puts the bottle back, stares at the TV, pulls the blanket up around his neck.) You know what it is, don't you? It's the rain! Weather. That's it. Every time. Every time you get like this, it's the rain. No sooner does the rain start than you start. (Pause.) Dodge? (He makes no reply. Pulls a pack of cigarettes out from his sweater and lights one. Stares at the TV. Pause.) You should see it coming down up here. Just coming down in sheets. Blue sheets. The bridge is pretty near flooded. What's it like down there? Dodge? (DODGE turns his head back over his left shoulder and takes a look out through the porch. He turns back to the TV.)
DODGE: (To himself.) Catastrophic.
HALIE'S VOICE: What? What'd you say, Dodge?
DODGE: (Louder.) It looks like rain to me! Plain old rain!
HALIE'S VOICE: Rain? Of course it's rain! Are you having a seizure or something! Dodge? (Pause.) I'm coming down there in about five minutes if you don't answer me!
DODGE: Don't come down.
HALIE'S VOICE: What!
DODGE: (Louder.) Don't come down! (He has another coughing attack. Stops.)
HALIE'S VOICE: You should take a pill for that! I don't see why you just don't take a pill. Be done with it once and for all. Put a stop to it. (He takes the bottle out again. Another swig. Returns the bottle.) It's not Christian, but it works. It's not necessarily Christian, that is. A pill. We don't know. We're not in a position to answer something like that. There's some things the ministers can't even answer. I, personally, can't see anything wrong with it. A pill. Pain is pain. Pure and simple. Suffering is a different matter. That's entirely different. A pill seems as good an answer as any. Dodge? (Pause.) Dodge, are you watching baseball?
DODGE: No.
HALIE'S VOICE: What?
DODGE: (Louder.) No! I'm not watching baseball.
HALIE'S VOICE: What're you watching? You shouldn't be watching anything that'll get you excited!
DODGE: Nothing gets me excited.
HALIE'S VOICE: No horse racing!
DODGE: They don't race here on Sundays.
HALIE'S VOICE: What?
DODGE: (Louder.) They don't race on Sundays!
HALIE'S VOICE: Well, they shouldn't race on Sundays. The Sabbath.
DODGE: Well, they don't! Not here anyway. The boondocks.
HALIE'S VOICE: Good. I'm amazed they still have that kind of legislation. Some semblance of morality. That's amazing.
DODGE: Yeah, it's amazing.
HALIE'S VOICE: What?
DODGE: (Louder.) It is amazing!
HALIE'S VOICE: It is. It truly is. I would've thought these days they'd be racing on Christmas even. A big flashing Christmas tree right down at the finish line.
DODGE: (Shakes his head.) No. Not yet.
HALIE'S VOICE: They used to race on New Year's! I remember that.
DODGE: They never raced on New Year's!
HALIE'S VOICE: Sometimes they did.
DODGE: They never did!
HALIE'S VOICE: Before we were married they did!
DODGE: "Before we were married." (DODGE waves his hand in disgust at the staircase. Leans back in sofa. Stares at TV.)
HALIE'S VOICE: I went once. With a man. On New Year's.
DODGE: (Mimicking her.) Oh, a "man."
HALIE'S VOICE: What?
DODGE: Nothing!
HALIE'S VOICE: A wonderful man. A breeder.
DODGE: A what?
HALIE'S VOICE: A breeder! A horse breeder! Thoroughbreds.
DODGE: Oh, thoroughbreds. Wonderful. You betcha. A breeder-man.
HALIE'S...
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