Review: FOOL FOR LOVE at Sterling Stage Austin

From July 10 through August 2, Sterling Stage Austin presents Sam Shepard's FOOL FOR LOVE, a searing, compact one-act drama that remains as unsettling and relevant today as when it premiered. Set in a rundown motel room on the edge of the Mojave Desert, FOOL FOR LOVE follows Eddie and May, two people who are irresistibly drawn to one another while simultaneously desperate to escape the toxic bond that has defined their lives. As buried family secrets emerge and old wounds are reopened, Shepard crafts an emotionally volatile story that is alternately darkly funny, deeply uncomfortable, and heartbreakingly human. It is a play about obsession, memory, trauma, and the impossible task of separating ourselves from the past.

Director Jeff Hinkle crafts an astonishing production in which every moment feels deliberate and lived-in. Nothing is left to chance. The intimate scenes unfold with such honesty that the audience feels almost intrusive, as though witnessing intensely private moments we were never meant to see. Explosive confrontations simmer before erupting into frightening displays of anger, while quieter moments of exhaustion, surrender, tenderness, and even humor land with equal precision. Hinkle intuitively understands Shepard's rhythms and allows every uncomfortable silence and emotional outburst to breathe, creating a production that is gripping from beginning to end.

It certainly helps that Hinkle assembles a remarkable cast, each actor fully inhabiting Shepard's emotionally complicated characters.

Katleen Fletcher delivers a stunning performance as May, a fiercely independent woman desperately trying to escape the gravitational pull of a relationship she knows can only destroy her. Fletcher's performance is breathtaking in its emotional honesty. Her rapid shifts between longing and resentment never feel forced, and every physical choice - from the almost sensual way she inhales the scent of liquor to the heartbreaking quiver in her lip as she insists she "plain doesn't love" Eddie - reveals another layer of May's internal conflict. It is a nuanced, deeply human performance, and one not to be missed. This is Fletcher at her best, allowing all of us direct access to her vulnerability and precision as an actor.

As Eddie, Patrick Wheeler proves Fletcher's equal in every respect. Wheeler embodies Eddie's dangerous combination of charisma, vulnerability, possessiveness, and barely contained violence. His jealousy is palpable, his longing haunting, and his capacity to switch from tenderness to menace in an instant is genuinely startling. Wheeler never reduces Eddie to a villain; instead, he reveals a deeply broken man trapped inside cycles he seems powerless to escape. I am left entirely convinced of this character's real presence in the world.

Michael Stuart brings complexity and unexpected humor to The Old Man, the spectral patriarch whose memories and commentary frame much of the action. Rather than presenting him as simply a narrator, Stuart reveals a man desperately rewriting his own history, softening his culpability while refusing to confront the devastating consequences of his choices. His attempts to shift blame feel painfully familiar; don't we all know someone who has perfected the art of telling a story that always casts themselves in the best possible light? Stuart walks this delicate line beautifully, balancing charm, self-deception, and tragedy.

As Martin, Justin LaVergne provides the audience with a much-needed outsider's perspective. Arriving to take May on an innocent date, Martin quickly finds himself caught inside an emotional storm he cannot begin to understand. LaVergne plays the role with warmth, patience, and quiet strength, allowing Martin to become hopeful suitor, bewildered observer, reluctant protector, and compassionate listener, all without ever losing the character's authenticity.

The production's technical elements are equally impressive. As I watch, I find myself continually noticing how every design choice quietly deepens my understanding of the characters. Luis Ordaz's costume design perfectly captures each character's social status and emotional condition. Eddie's stained jeans, worn flannel, and tank top communicate years of hard living, while May's mismatched robe and later elegant dress subtly reflect the conflict between the life she has and the life she hopes to claim. Martin's slightly ill-fitting suit reinforces his earnestness and status, while The Old Man's weathered clothing completes the portrait of a man haunted by the past.

Ordaz's set and prop design is exceptional. I feel as though the set itself becomes another character in the story. The motel room feels authentically worn and neglected, filled with tattered 1970s furniture, broken bedposts, mismatched linens, scattered clothing, and a cramped bathroom that together create a space that has absorbed years of pain. Every detail contributes to the production's realism.

Hector Ordaz's sound design beautifully supports the storytelling. I especially appreciate how the music never calls attention to itself, yet constantly shapes the emotional landscape of the play. Music by artists such as The Raveonettes, Pat Green, Elvis Presley, and other country-appropriate selections establishes atmosphere before the performance and heightens the emotional tension throughout. The sound cues are impeccably timed, underscoring key moments without overwhelming them.

Michael Smith's lighting design effectively isolates emotional beats. I find myself drawn into the shifts between memory and the present almost without realizing it, thanks in large part to the lighting. It creates seamless transitions between reality and memory and incorporates practical effects, including distant headlights, that deepen the cinematic quality of the production. The thoughtful use of projections further enriches the visual storytelling without distracting from the performances.

Hair, makeup, and stage management by Raquel Rivera deserve recognition as well. I appreciate how these details never feel flashy; instead, they quietly strengthen each character's authenticity. The actors' appearances feel completely true to their characters, from Eddie's unshaven ruggedness to May's weary but still carefully maintained faux elegance and Martin's clean-cut optimism. Every visual detail reinforces character and circumstance.

Finally, Emily Taylor's intimacy coordination and fight choreography stand among the production's greatest strengths. At no point do I question the authenticity of what is unfolding onstage. The physical interactions are raw, believable, and emotionally charged without ever feeling sensationalized. Every embrace, struggle, shove, and moment of vulnerability serves the story, making the relationship between Eddie and May feel painfully real.

Sterling Stage Austin's production of FOOL FOR LOVE is a remarkable piece of theatre anchored by fearless performances, exceptional direction, and meticulous technical craftsmanship. It is emotionally exhausting in the best possible way, drawing audiences into one of Sam Shepard's most haunting explorations of love, trauma, and family.

I highly recommend this production for audiences who appreciate intense psychological drama and outstanding acting. Prospective patrons should be aware that this production is intended for mature audiences and contains strong language, domestic violence, sexual situations, emotionally abusive relationships, and themes of incest and family trauma. It is powerful, provocative theatre, but definitely not one for children or younger teens.

FOOL FOR LOVE

Written by Sam Shepard

Theater Company: Sterling Stage Austin

Venue: 6134 E Hwy 290, Austin, TX 78752

July 10 - August 2, Thursdays - Saturdays at 7:30 p.m., Sundays at 2:30 p.m.

Running Time: 65 minutes, no intermission

Tickets: $22.43 - 33.13

Reader Reviews

To post a comment, you must register and login.

Don't Miss a Austin News Story
Sign up for all the news on the Summer season, discounts & more...