Sibling Rivalry Gone Berserk

True West – Steppenwolf Theatre

The third in Sam Shepard’s Family Trilogy, along with his “Curse of the Starving Class” and “Buried Child,” this exciting, violent, darkly humorous play was a finalist for the 1983 Pulitzer Prize in Drama. Three years earlier, Shepard’s drama premiered in San Francisco, followed by its Off-Broadway opening at the Public Theater. In 1982 Steppenwolf produced their thrilling version of the play, starring Gary Sinise and John Malkovich, which helped put this Chicago-based ensemble company on the map. Shepard became instrumental in transferring Steppenwolf’s production to New York for another successful Off-Broadway run. Then the play finally made its way to Broadway in 2000, where it was produced by Circle in the Square and nominated for the Tony.

Ensemble member, Randall Arney’s new production in Steppenwolf’s Downstair Theatre is two hours of raw emotion, unrelenting tension and sudden bursts of surprising humor. Staged on Todd Rosenthal’s meticulously detailed scenic design, his nicely-furnished Southern California desert home is realistic and recognizable. It’s currently being cared for by Mom’s youngest son, Austin. The stage set extends outward toward the audience, framed by a backdrop of sky and mountains, and a foreground of desert shrubbery and sand. Ann G. Wrightston’s gorgeous lighting design subtly and naturally paints both the night sky and the approaching dawn.

Surrounded by cabinets and appliances, circa 1980, and a kitchen table overflowing with a portable typewriter and lots of research materials, we discover Austin hard at work on his latest screenplay. He’s hoping that Saul, a studio producer, will be interested in his “period piece” movie. Lee, Austin’s oafish older sibling has dropped by, disturbing Austin’s concentration and reigniting old rivalries between these two very different brothers. The room fills with testosterone, tension and outright hostility. This is the brothers’ first reunion, after a five-year separation. Their sibling rivalry is palpable and, to break through the hostility, Austin tries to persuade Lee to leave so that he’ll be able to discuss business with Saul without any interruptions. He even agrees to loan Lee his car, knowing full well that his degenerate brother will use it to commit petty robbery in the neighborhood. And he’s right! In the middle of their business meeting, Lee returns home with a stolen television, and the tension ratchets up to a new and unexpected level.

Jon Michael Hill (known to audiences from his popular TV show, “Elementary”) and Namir Smallwood, recently enjoyed in Steppenwolf’s productions of “BLKS” and “Monster,” are an excellent team, as Austin and Lee. Lee is street-smart, carnal, desperate and acts on impulse. Austin is far more cerebral, creative, organized and a hardworking man with a career, wife and family. The chemistry between these two actors is as strong as their rivalry is intense, especially as their reunion progresses and the motives and boundaries of their characters begin to blur. As Austin gradually becomes more feral and Lee begins to show an unexpected serious side, we can see Shepard’s intention to show two sides of the same individual in these diverse characters. The talent and sheer energy of these two actors drives this play in two hours of well-articulated dialogue, all the  while swilling liquor and pummeling each other into submission. It’s a tribute to their talent and commitment. As Austin and Lee, both Hill and Smallwood are absolutely terrific.

The supporting characters, in what’s basically a two-hander, are portrayed by the talented Francis Guinan, as Saul, recreating the role he played in Steppenwolf’s 1982 production; and Jacqueline Williams, as Mom, a woman who returns from an Alaskan cruise to find her two sons engaged in bloody combat. Both bring authenticity and some much-appreciated humor to these interesting, if somewhat quirky, individuals. Mr. Guinan, who has more stage time, is particularly good at creating this good-ol’-boy wheeler-dealer movie producer. Between spinning his idea for a script, and schmoozing the producer about golf, Saul fails to notice how easily Lee is duping him. Ms. Williams is that sweet, loving parent, who long ago lost control of her offspring. Arriving home unexpectedly, Mom finds her kitchen almost totally demolished and discovers her two grown boys, once again, waging war with each another. The woman simply sinks into shock. Both supporting actors bring balance and a touch of humanity to Shepard’s play.

Besides Arney’s expert direction, much credit goes to Ned Mochel for his realistic fight choreography. He makes the violence believable, which is difficult given the close proximity to the audience. And stage management must be commended for their diligence in stocking a set filled with props that get smashed and strewn about the stage at every performance.

This American classic is being given an excellent revival by one of Chicago’s most consistently competent theatre companies. While it’s often difficult to witness the bitter angst, antagonism and pain in this story, Shepard’s play never-the-less remains a brilliant study in the duality between siblings or within a single  individual. The subtle way these two men morph into one another provides this unique drama with just the right psychological tension. And, in this portrait of sibling rivalry gone berserk, we’re left with a fascinating and thought-provoking afternoon or evening of theatre.

Highly Recommended

Reviewed by Colin Douglas

Presented July 5-August 25 by Steppenwolf Theatre Company in the Downstairs Theatre, 1650 N. Halsted St., Chicago.

Tickets are available in person at the theatre box office, by calling Audience Services at 312-335-1650 or by going to www.steppenwolf.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.