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Samuel Shepard Rogers

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Samuel Shepard Rogers III (November 5, 1943 – July 27, 2017), known professionally as Sam Shepard, was an American actor, playwright, author, screenwriter, and director whose career spanned half a century. He won ten Obie Awards for writing and directing, the most won by any writer or director. He wrote 44 plays as well as several books of short stories, essays, and memoirs. Shepard received the Pulitzer Prize for Drama in 1979 for his play Buried Child and was nominated for an Academy Award for Best Supporting Actor for his portrayal of pilot Chuck Yeager in the 1983 film The Right Stuff. He received the PEN/Laura Pels Theater Award as a master American dramatist in 2009. New York magazine described Shepard as "the greatest American playwright of his generation."

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Shepard's plays are known for their bleak, poetic, surrealist elements, black comedy, and rootless characters living on the outskirts of American society. His style evolved from the absurdism of his early off-off-Broadway work to the realism of later plays like Buried Child and Curse of the Starving Class.

Shepard found work as a busboy at the Village Gate nightclub when he arrived in New York City, and in 1962 became involved in the off-off-Broadway theater scene through Ralph Cook, the Village Gate's head waiter. Steve Rogers then adopted the professional name Sam Shepard. Although his plays would eventually be staged at several off-off-Broadway venues, Shepard was most closely connected with Cook's Theatre Genesis, housed at St. Mark's Church in-the-Bowery in the East Village.

In 1965, Shepard's one-act plays Dog and The Rocking Chair were produced at La MaMa Experimental Theatre Club. These were the first of many productions of Shepard's work at La MaMa during the 1960s, 1970s, and 1980s. In 1967, Tom O'Horgan directed Shepard's Melodrama Play alongside Leonard Melfi's Times Square and Rochelle Owens' Futz at La MaMa. In 1969, Jeff Bleckner directed Shepard's science fiction play The Unseen Hand at La MaMa. The Unseen Hand would later influence Richard O'Brien's musical The Rocky Horror Show. Bleckner then directed The Unseen Hand alongside Forensic and the Navigators at the nearby Astor Place Theater in 1970.

Shepard's play Shaved Splits was directed at La MaMa in 1970 by Bill Hart. Seth Allen directed Melodrama Play at La MaMa the following year. In 1981, Tony Barsha directed The Unseen Hand at La MaMa. The production then transferred to the Provincetown Playhouse and ran for over 100 performances. Syracuse Stage co-produced The Tooth of Crime at La MaMa in 1983. Also in 1983, the Overtone Theatre and New Writers at the Westside co-produced Shepard's plays Superstitions and The Sad Lament of Pecos Bill on the Eve of Killing His Wife at La MaMa. John Densmore performed in his own play Skins and Shepard and Joseph Chaikin's play Tongues, directed as a double bill by Tony Abatemarco, at La MaMa in 1984. Nicholas Swyrydenko directed a production of Geography of a Horse Dreamer at La MaMa in 1985.

Several of Shepard's early plays, including Red Cross (1966) and La Turista (1967), were directed by Jacques Levy. A patron of the Chelsea Hotel scene, he also contributed to Kenneth Tynan's Oh! Calcutta! (1969) and drummed sporadically from 1967 through 1971 with the psychedelic folk band The Holy Modal Rounders, appearing on their albums Indian War Whoop (1967) and The Moray Eels Eat The Holy Modal Rounders (1968). After winning six Obie Awards between 1966 and 1968, Shepard emerged as a screenwriter with Robert Frank's Me and My Brother (1968) and Michelangelo Antonioni's Zabriskie Point (1970).

Cowboy Mouth, a collaboration with his then-lover Patti Smith, was staged at The American Place Theatre in April 1971, providing early exposure for Smith, who became a well-known musician. The story and characters in Cowboy Mouth were loosely inspired by Shepard and Smith's relationship. After opening night, he abandoned the production and fled to New England without a word to anyone involved.

Shortly thereafter, Shepard relocated with his wife and son to London. While in London, he immersed himself in the study of G. I. Gurdjieff's Fourth Way, a recurring preoccupation for much of his life. Returning to the United States in 1975, he moved to the 20-acre Flying Y Ranch in Mill Valley, California, where he raised a young colt named Drum and rode double with his young son on an appaloosa named Cody. Shepard continued to write plays and served for a semester as Regents' Professor of Drama at the University of California, Davis.

Shepard accompanied Bob Dylan on the Rolling Thunder Revue of 1975 as the screenwriter for Renaldo and Clara that emerged from the tour. However, because much of the film was improvised, Shepard's work was seldom used. His diary of the tour, Rolling Thunder Logbook, was published in 1978. A decade later, Dylan and Shepard co-wrote the 11-minute song "Brownsville Girl", included on Dylan's 1986 Knocked Out Loaded album and on later compilations.

In 1975, Shepard was named playwright-in-residence at the Magic Theatre in San Francisco, where he created many of his notable works, including his Family Trilogy. One of the plays in the trilogy, Buried Child (1978), won the Pulitzer Prize, and was nominated for five Tony Awards. This marked a major turning point in his career, heralding some of his best-known work, including True West (1980), Fool for Love (1983), and A Lie of the Mind (1985). A comic tale of reunion, in which a young man drops in on his grandfather's Illinois farmstead only to be greeted with indifference by his relations, Buried Child saw Shepard stake a claim to the psychological terrain of classic American theater. True West and Fool for Love were subsequently nominated for the Pulitzer Prize. Some critics have expanded the trilogy to a quintet, including Fool for Love and A Lie of the Mind. Shepard won a record-setting 10 Obie Awards for writing and directing between 1966 and 1984.

In 2010, A Lie of the Mind was revived in New York at the same time as Shepard's new play Ages of the Moon opened there. Reflecting on the two plays, Shepard said that the older play felt "awkward", adding, "All of the characters are in a fractured place, broken into pieces, and the pieces don't really fit together," while the newer play "is like a Porsche. It's sleek, it does exactly what you want it to do, and it can speed up but also shows off great brakes." The revival and the new play also coincided with the publication of Shepard's collection Day out of Days: Stories. The book includes "short stories, poems and narrative sketches... that developed from dozens of leather-bound notebooks [Shepard] carried with him over the years."

Shepard La Play Shepard's Directed Mama American Theatre