Hello again from Nashville! I’ve been thinking about your production of FFL and how much I wish I could see it. As you know, actors in the states (unless starts of TV and screen) usually “wear another hat,” or in other words have at least on other job, to make ends meet. My “other hat” right now is writing and directing a country music show in Pigeon Forge, TN (called Country Tonite – check it out on the web!), so I’m very curious about how the music was worked into your play. I think Alex had said before that Marin was the musician: did he end up singing, as well as playing guitar? Did you write original songs or use existing songs? So many possibilities!
I think it’s very cool that you guys decided to incorporate music into the play, especially considering Shepard’s background. Interesting to me is that Shepard mentioned a Merle Haggard tune specifically in the director’s notes. Once you hear the song, it makes perfect sense why that song was the choice to set the mood for this piece. What’s perhaps more interesting is the fact that Shepard chose a Merle Haggard tune specifically. I don’t know how much Germany knows about the background of Haggard’s brand of country – or even that you need to for this play – but think it’s interesting and worth sharing!
In country circles, it’s well-known that Haggard was in prison at San Quinton for some time. Legend has it that is was during this time that Johnny Cash played his legendary concert there – and Haggard was so moved and sick of the pen that he got serious about turning his life around. Clearly he did just that – for several decades now Haggard has had hit record after hit record, and become an “icon” in the country music world.
What’s most interesting from today’s perspective, I think, is in looking back at how country music has developed over the years and looking at Haggard in that context. Country music went through a “split” of sorts in the late 60’s/early 70’s, resulting in what we now know as the “Nashville Sound” (hallmark being super clean, polished recordings) and the “Bakersfield Sound”(hallmark being twang and rough edges). Haggard was part of the Bakersfield camp, which eventually gave rise to what is commonly today called the country music “Outlaws” – Haggard, Willie Nelson, Toby Keith – artists that refuse to produce “slick” sounding records or songs.
The “Outlaws” got their original “name” sometime in the 70’s, and this play was written shortly thereafter. As the word “outlaw” connotes something of the American West, and Haggard’s past being a tough one to overcome, there’s just shade after shade of relevance there – the less “slick” the better!
Also interesting that Martin is the “outsider” in the play, and Haggard was a bit of an “outsider” himself – I’d love to see where that would lead! Another interesting choice for a different production could be the Old Man as the musician, seemingly “removed” from the scene, yet his melody haunting May and Eddie, perhaps even drawing them into a sense memory of him. Now I really want to do this play !
