TheaterWorks Hartford is staging a comeback—and not just for the venue itself. Constance Shulman, a name synonymous with both stage and screen, is returning to the theater after a 31-year hiatus. But this isn’t just any revival; it’s the world premiere of Drew Larimore’s The Cannibals of McGower County, a Southern Gothic play that promises to be as explosive as it is intimate. What makes this particularly fascinating is how Shulman’s return mirrors the theater’s own evolution. In the early ’90s, TheaterWorks was a fledgling institution, performing in a rented space. Today, it stands as a renovated cultural cornerstone in Hartford. Shulman’s journey—from a young actor in those early productions to a seasoned performer now—feels like a metaphor for the theater’s growth.
Personally, I think this reunion is more than just a nostalgic trip. It’s a testament to the enduring power of regional theater and the artists who shape it. Shulman’s career trajectory is a masterclass in adaptability. From her early days at TheaterWorks to her iconic roles as Patti Mayonnaise in Doug and Yoga Jones in Orange Is the New Black, she’s navigated the complexities of both stage and screen. What many people don’t realize is that her decision to step back from live theater for 15 years to raise her children with fellow actor Reed Birney was a deliberate choice—one that speaks volumes about the sacrifices artists often make. Now, with both her children following in her footsteps (her daughter Gus even co-stars in The Cannibals), Shulman’s return feels like a full-circle moment.
The play itself is a beast—a Southern Gothic drama with Texas-sized emotions and a script that draws comparisons to Tennessee Williams and Sam Shepard. Shulman describes it as ‘not for the faint of heart,’ and I believe her. The story centers on Lindalyn, an ailing yet powerful matriarch, and her estranged adopted daughter, Sarah Nell. Shulman plays Viola, Lindalyn’s old friend, who works with her salvaging abandoned restaurants. If you take a step back and think about it, the premise is ripe with symbolism: salvaging the past while confronting the present. This raises a deeper question: How do we reconcile our histories with our current realities?
What this really suggests is that The Cannibals of McGower County isn’t just a play—it’s a reflection of our collective struggles with legacy, family, and identity. A detail that I find especially interesting is the inclusion of a ‘cosplay cowboy’ named Blaze. In a play already brimming with larger-than-life characters, Blaze feels like the wildcard, the embodiment of chaos in an already tumultuous narrative.
Shulman’s collaboration with director Jen Wineman is another layer of intrigue. This is the first time Shulman has worked at TheaterWorks without Rob Ruggiero, the director who helmed her early productions there. Wineman, known for her work on challenging plays and new developments, brings a fresh perspective to the table. From my perspective, this shift in directorial hands symbolizes the passing of the torch—a new generation stepping in to carry forward the theater’s legacy.
One thing that immediately stands out is Shulman’s willingness to uproot her life for this production. She’s brought her ‘ranch’—four cats, a tortoise, and a hamster—to Hartford, where she’s been walking the tortoise daily in Bushnell Park. It’s a quirky detail, but it speaks to her commitment. Annalee Jeffries, who plays Lindalyn, also left her Texas ranch for the show. These women aren’t just actors; they’re artists fully immersed in their craft.
The broader implications here are worth exploring. Regional theaters like TheaterWorks often serve as incubators for talent and innovation. Shulman’s return highlights the symbiotic relationship between artists and the institutions that nurture them. In an era where streaming dominates, live theater remains a vital space for storytelling—one that demands presence, both from performers and audiences.
As for the future, I’m curious to see how The Cannibals of McGower County will resonate beyond Hartford. Larimore’s play is the first in a projected ‘Southern matriarch trilogy,’ and if this production is any indication, we’re in for a provocative exploration of Southern narratives. Will it travel? Will it spark conversations about the roles of women, family, and legacy? Only time will tell.
In conclusion, Shulman’s return to TheaterWorks Hartford is more than a theatrical event—it’s a cultural moment. It’s about growth, resilience, and the enduring power of storytelling. As she puts it, ‘After this, I think I’m going to be played out.’ But if you ask me, this is just another chapter in a career that continues to defy expectations. TheaterWorks, Shulman, and The Cannibals of McGower County are reminding us why live theater matters—because it’s raw, it’s real, and it’s unforgettable.
