bloglovinBloglovin iconCombined ShapeCreated with Sketch. Fill 1Created with Sketch. Fill 1Created with Sketch. Fill 1Created with Sketch. Fill 1Created with Sketch. Fill 1Created with Sketch. rssRSS iconsoundcloudSoundCloud iconFill 1Created with Sketch. Fill 1Created with Sketch. Fill 1Created with Sketch. Fill 1Created with Sketch. searchCreated with Lunacy

A Lie of the Mind

Written by Sam Shepard
Directed by Susannah Martin

Photos by Pak Han

Presented by Boxcar Theatre
March 9 – April 14, 2012

SAN FRANCISCO WEEKLY “…under Martin’s direction, this frenetic magnum opus plays as a series of taut, poignant individual moments, each of which feels at once impossible and urgently necessary.” – Lily Janiak

SAN FRANCISCO BAY GUARDIAN “…the exceptionally sharp and powerful production currently up at Boxcar Theatre under direction of Susannah Martin… suggests 1985’s Lie may cut deeper than most…Martin’s intelligent staging…adds tangible weight and texture to the play’s radiant dialogue and engrossing characters, realized by one of the finest ensemble casts all year.” – Robert Avila

THEATRE STORM “…howlingly funny as well as dramatically terrifying. This is one hell of a night at the theatre!” – Charles Kruger, member BATCC

Director’s Note
Something identifies you with the one who leaves you and it is your common power to return: thus your greatest sorrow. Something separates you from the one who remains with you, and it is your common slavery to depart: thus your meagerest rejoicing.” – Cesar Vallejo

Months ago, I attempted to discern what this play was about by distilling its themes and motifs. My goal was to create a one-page document. It quickly turned to three. When I tried to eliminate any items on my list, I couldn’t do it. Everything was essential.

I have directed Shepard’s plays before and so I recognize the many repeated motifs that are strung throughout this script and every other script he has written. I have joked about how this play is the one in which Shepard took every idea, image, or theme that he was ever interested in and threw them in a blender.

But to say that is to do him a huge disservice. As we pored over this script we discovered that every single moment – every character – every relationship – every line – every image – is essential. The play captures life, love, family, addiction and denial in all its abstract and absurd glory. When we fight, when we love, when we try and communicate with each other – it is as hard – as funny – as sad – as bizarre – and as crossed-wired as the interactions in this play.

So what is this play about?

This is a play about love. Love in all its forms and variations: abusive, dysfunctional, chaotic, familial, co-dependent, addictive. This is a play about how hard it is to love and be loved. About the lies we tell ourselves and others in order to run towards and away from love. About how love – and the loss of love – alters and transforms our minds, bodies, and souls.

Meg / Carolyn Doyle*
Jake / Joe Estlack
Sally / Marissa Keltie
Mike / Tim Redmond
Lorraine / Katja Rivera*
Frankie / Josh Schell
Beth / Megan Trout
Baylor / Don Wood

*Member of AEA

Artistic Director / Nick Olivero
Assistant Director + Rehearsal Stage Manager / Lynda Bachman
Assistant Lighting Designer / Jacqueline Steager
Assistant Stage Manager / Colin Johnson
Costume Design / Christine Crook
Dialect Coach / Rebecca Castelli
Fight Choreographer / Durand Garcia
Lighting Design / Lucas Krech
Production Manager / Bonnie Robertson
Production Stage Manager / Mina Sohaa Smith
Properties + Set Dressing / Jessica Chaffin + Megan Hillard
Scenic Design / Steve Decker
Sound + Music / Theodore J.H. Hulsker
Technical Director / Bert van Aalsburg