My Own Take: Off-Broadway's "Curse of the Starving Class"

The show: “Curse of the Starving Class” by Sam Shepard, revived by off-Broadway’s The New Group

What makes it special?: This off-Broadway revival of the ‘70s tragicomedy stars Christian Slater and Calista Flockhart. It also features Cooper Hoffman, son of actor Philip Seymour Hoffman.

What’s it about?: The work, which premiered at The Public Theater in 1978, is widely considered the first play of Shepard’s ‘family” trilogy , which also includes “Buried Child” and 1980’s “True West.”

But it’s not a family in which most of us are familiar or could identify with at first. The dysfunctional Tate family, which lives on a dilapidated rural California farm, includes a drunk of a father, a mother who can’t cope and lives in denial, a young grown son who hasn't yet given up, and a young rebel daughter. The narrative spins around the prospect of selling the family farm to real estate developers, and touches on themes of family, freedom, escape, toxic masculinity, and identity.

You had me at dysfunctional family: But this is also a dysfunctional production.

In director Scott Elliott’s messy production, he fails to navigate his cast through the wild and ever-shifting waters of Shepard’s dense, symbolic and idiosyncratic text, as well as its odd logic and “Strange Interlude” asides. The production never squares its lyricism with its reality; its satire with its seriousness.. The acting styles , tones and rhythms are so all all over the map one might rightfully question in the end the play’s worth, certainly not what one wants to do with an Obie-winning play by one of America’s leading playwrights of his generation.

But such stars: Ah, the dangers of being seduced by marquee names. It’s nice to see Flockhart shredding her “Ally McBeal” image for that of a mad matriarch, but here it’s all show, lacking clarity or even a pay-off. Hoffman is game, but his performance is also unfocused and he looks more preppy than being part of a hopeless, broken family. Slater, lacking menace or combustibility — and acting inebriated sloppily, spends most of the time wandering around the ramshackle house as if looking for a purpose (and not finding one) — even when sharing his thoughts with a lamb; I mean a sheep.

Which is it? Good question. In this production it’s a full grown sheep, not a lamb, thought the script calls for a lamb. It’s understandable why the production didn’t use a lamb (like the Long Wharf Theatre production did in 2014 . The play was also produced in 2000 at Yale Rep but I forget its livestock choice.) The reason for the switch, I imagine, is that a nervous lamb on stage tends to bleat — a lot — among other distractions. Not that this huge critter didn’t have its own vocal moments. And pity any actor who has to deliver a long rambling monologue to such an imposing animal on stage. And yes, all eyes are on ewe, (which is named Lois by the way and is adorable.)

Who will like the play?: Shepard fans who like to see any production of this work. Perhaps fans of Flockhart and Slater who are happy to see these actors live on stage.

Who won’t?: Other Shepard fans. And PETA. (Though the animal is handled lovingly, it’s not protected under Actors Equity. )

For the kids?: Watching livestock on stage has its limits, especially a close to three hour ,dense play that drags more than it rages.

Marquee quote: Leaves the audience hungry for more.

Thoughts on leaving the parking lot?: Is Shepard’s work too stuck in its time or is this simply a production that misses its mark? I’m not so sure now. Now It’s great to see stars in small off-Broadway productions but a production has to be more than a casting big name actors.

Info: Running through April 6 at the Pershing Square Signature Center. See thenewgroup.org. Running time: 2 hours 45 minutes.