The stage is almost bare. A few props rivet the playgoer's eye: an ancient desk piled high with books and yesterday's newspapers, a sawhorse with a Western saddle draped over it, a picture of a turn-of-the-century cowboy. Suddenly, a lecturer appears. He wears a coat. As he sheds the coat, he reveals to the audience that he is performing the eternal theatrical ritual, dropping the mask, assuming the myth, becoming the man. He pulls out a bandana and ties it around his neck. He gives his forelock a forward tug. Bowed of leg, lariat twirling, stetson arched back over his forehead...
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