🎭 TheaterReview SteppenwolfThtr ensemble member Kate Arrington’s new play is honest and riveting. | ✍️ kerryreid
During the years that I’ve seen Kate Arrington onstage at Steppenwolf, “chameleonic” is the adjective that most often comes to mind. From show to show, she never seems to play the same type, slipping into the skin of characters so seamlessly that I have at times had trouble recognizing her initially. Which, paradoxically, makes her all the more memorable and absorbing to watch onstage.at Steppenwolf’s Ensemble Theater, directed by founding ensemble member Terry Kinney.
The genius in Arrington’s writing, even when we might wish for a scene to hold on for a few more moments toward a recognizable emotional resolution, is that she understands that these characters can’t help but observe and experience at the same time. Which is what we all do—they just happen to have the quips in their quivers to meld the two. “I was wondering who would be the pretentious, overwrought voice of our generation,” Sunny says to Nick shortly after he introduces himself formally. .
Nick is one of three sons in a successful literary family. Sunny is the daughter of a woman who died giving birth to her. And their own daughter, Jo , is the keeper of the family legends. She roams the edges of the playing area with her iPad always at the ready, taking notes and finally filling us in on her dead grandmother, whose own desires to live in New York and pursue a life more cosmopolitan than what Mobile, Alabama, had to offer were thwarted in the most tragic way.
There’s also Caroline Neff’s Macassidy, assistant to Nick’s literary agent who becomes much more. Neff’s capacity for offhanded honesty is put to great use here, and it’s also fun to see Greer, another chameleonic talent often seen onscreen in supporting roles, turn Sunny into a complex and complicated woman . Barford’s Nick is right in the actor’s wheelhouse: a self-deprecating but proud man who is just on the edge of losing his good humor, as revealed through flashes of wounded self-pity.
The first act is probably the most accessible, with the familiar conflicts about whose career gets to dominate a marriage and the changes parenthood brings to romance being foregrounded. But I found myself more drawn in by the second act, where we see Jo’s attempts to contextualize her parents and their own inherited trauma . It’s occasionally confounding, but Arrington’ssettles neither for easy resolution nor comforting recrimination.
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