If the initial production of Fourteen Hundred Thousand was in any way a success, it was only in demonstrating to both myself and Sam Shepard some pitfalls that can be encountered when director and playwright work together. From a critical point of view the production was undeniably a failure.

Fourteen Hundred Thousand is a script characterized by an emphasis on language and a highly formal structure. It is true that the dialogue is elliptical, diffuse; that the play is composed of oddly dissimilar fragments joined together without apparent transitions. This diffuse dialogue, however, these strange fragments, are carefully arranged into a precise pattern. The formality is even carried out in the severe lines and deliberate balance of the set, and in the stage directions. These indicate precisely balanced arrangements of characters which emphasize the isolation of one from another. As the play progresses, words become more important, action less important, until it culminates in a technical description read from a book. (p. 62)

Fourteen Hundred Thousand is a rich and provocative script, and I feel certain that the right production concept will result in a moving theatrical event. I hope some director will accept the challenge which this play offers. (p. 63)