Part of what makes Jonathan Berry’s direction stay with you after the show ends is that he allows his actors the space and time to make real discoveries and connections in the moments.
When presented with the uncomfortable truth, we are given a choice: to reckon with it, or to keep living in blissful ignorance. Ignorance may be bliss, but the truth is always lurking just below the surface, waiting to be found.
They are a couple – just as any couple – sharing and grieving and bickering. “Grief is a profound sense of failure,” mutters Henry over pudding, in what is undoubtedly the most moving moment of the play.
Taylor Mac credits the seed of inspiration for HIR to the 1997 Steppenwolf production of Sam Shepard’s BURIED CHILD. Coming full circle, HIR is now playing at Steppenwolf. The leap is not that far; just as Shepard’s work is an indicting statement on the modern American family of his time, Steppenwolf’s HIR is most certainly a reflection of Mac’s.