SHANE

photo by Karen Almond

Written by Karen Zacarías
Adapted from the novel by Jack Schaefer
Directed by Blake Robison

My thoughts on Shane or…a new look at the Old West.

When I first saw Shane on the Dallas Theater Center’s season announcement, I thought WTF. A western? Why???? I was less than excited.

I have never been more wrong. Karen Zacarías’s excellent adaptation of Jack Schaefer’s novel artfully directed by Blake Robison is captivating theater that kept me constantly amazed, engaged, and mesmerized for 90 minutes.

Lex Liang’s set consists of a large wooden wall built with what looks like hand hewn planks, broken only by a saloon door, with an elevated area and ramp facing it. Scenes are suggested by set pieces, mostly chairs. It’s all rustic and minimal, but this minimalism provides the platform for maximum storytelling.

The storytelling is enhanced by superb lighting from Pablo Santiago and thrilling sound from Matthew Nielson. There are also terrific costumes from Trevor Bowen with Shane in total black creating an indelible image.

The story remains mostly true to the plot of the novel. Shane, a former gunslinger, trying to escape the violence of his past comes upon the homestead of Joe and Marian Starrett and their son Bobby, who quickly develops a strong attachment to Shane. The Starretts are involved in a conflict with Luke Fletcher, an unscrupulous rich rancher who wants their land. Shane, loyal to the Starretts becomes embroiled in the situation and soon must resort to the violence he wanted to leave behind.

Zacarías takes Shane to another level by adding depth and back stories to the characters. Here the character of Shane is a Black man with a Cuban mother, Marian Starrett is Mexican and Joe Starrett is half Mexican. This shared Hispanic heritage helps to form a bond between the characters. Additionally, Zacarías creates the character of Winona Stephens, a Lakota woman who serves as Fletcher’s interpreter. Winona, as a representative of the Indigenous People of the Wyoming area, never lets the plight and severe mistreatment of her people be forgotten. Even though she is friendly with the Starretts, she reminds them that the land on which they are homesteading is not really theirs.

Shane is a memory play narrated by the adult Bobby Starrett as he recalls the summer when he was 8 years old. Esteban Vilchez plays both parts. Vilchez is so skillful at transitioning into a child, peeking under doors and chairs, interacting with his parents he admires so much, and hero-worshipping Shane, I forgot I was watching an adult. Bobby is the heart of Shane and the keeper of memories and Vilchez gives Bobby humor, energy, and poignance.

The enigmatic gunslinger Shane is portrayed by Nathan M. Ramsey. Ramsey gives Shane a reticent demeanor and a slow, thoughtful delivery that increases his mystery. Ramsey has an intensity that can convey more with a single look than five pages of dialogue and there’s a quiet sexuality conveyed by the strength of his presence. There’ something almost supernatural about Ramsey’s Shane, a sort of quick on the draw deus ex machina. An extraordinary, unique performance.

Tiffany Solano and Blake Hackler are Marian and Joe Starrett. Theirs is a marriage based as much on mutual respect as it is love. Solano’s Marian is not a stereotypical farm wife. She is an equal partner in the marriage and, although she loves her husband, finds herself attracted to Shane and Solano is superb showing the emotional struggle. Hackler and Solano are excellent as the determined homesteaders and Hackler is particularly adept at portraying Joe’s growing desperation as Fletcher and his men become increasingly violent.

The cause of all the violence is Luke Fletcher portrayed by Bob Hess. I am such a fan of Hess’s work that it took me a minute to adjust to him being a villain here. Hess handles the role masterfully and allows Fletcher’s villainy to escalate with each scene. I could not help but draw parallels between Fletcher and current bullies who use money, power, and henchmen to achieve their goals.

I admired the resolve that Stephanie Lauren Delgado gives the character of Winona. Delgado, with steely eyes and a deliberate delivery, brings great strength of character to Winona. She will never let anyone forget the injustice done to her people. She is also quite handy with a slingshot and other weapons.

Zachary J. Willis in the supporting role of Chris Johnson, a young man aligned with Fletcher, is outstanding. He is humorous trying to provoke Shane. Then after learning a hard lesson, he grows to admire Shane and changes his alliance and life. Willis gives Johnson a sincerity that gives credence to the character.

Jim Jorgensen appears in the dual role of Ernie Wright, a homesteader killed by Stark Wilson, and as Stark Wilson himself. He’s the killed and the killer. As Stark Wilson, Jorgensen is chilling. Tall and menacing, he’s the embodiment of evil, a classic bad guy.

John Plumpis is Sam Grafton, owner of the saloon, and would like to keep harmony and his business from being wrecked by fighting. Logan Rhys Hallwas and Victor Marcinkiewicz complete Shane’s ensemble.

There are many fascinating aspects to Director Robison’s Shane, but none more so than the stylized, almost ritualistic movements developed by Movement Director Vanessa Severo. At moments throughout the play, characters do a sort of brief dance where they stomp their feet, dust themselves off, touch their arms and hearts, and create music with their slaps and stomps I have no idea what it means. I think perhaps it is an homage to the Indigenous People or perhaps to the land itself. Whatever it is, it’s amazing to watch. Indeed, the movement is so beautifully staged in Shane that it’s cool to watch chairs being carried on and off.

I would be remiss not to mention the Fight Directors Rick Sordelet and Christian Kelly-Sordelet who create incredibly realistic mayhem.

Dallas Theater Center’s Shane is a stunner. Forget all those western cliches and prepare yourself for a supremely entertaining evening of theater.

photo by Karen Almond