Entertainment

Steppenwolf tackles eternal questions in ambitious 'Eden'

Posted September 30, 2015 10:00 am

Barbara Vitello

Aaron Himelstein, right, plays Caleb Trask and Casey Thomas Brown plays his brother Aron in “East of Eden,” John Steinbeck's modern take on the Cain and Abel story adapted for Steppenwolf Theatre by ensemble member Frank Galati. Courtesy of Michael Brosilow

Do genetics determine a man's nature? Or is it defined by the choices he makes?

The question of fate vs. free will — set against the eternal battle between good and evil — drives Steppenwolf Theatre's ambitious, earnest adaptation of “East of Eden,” John Steinbeck's 1952 novel about legacy, loyalty and love that sets the story of Cain and Abel in the early 20th century.

It's a compelling question. If only Steppenwolf Theatre's world premiere was as gripping.

Directed by Steppenwolf co-founder Terry Kinney, “East of Eden” is a solidly acted, swift-moving production. But there are a few kinks that need working out before “Eden” becomes the kind of signature work for which Steppenwolf is known.

Adapter Frank Galati, the longtime Steppenwolf ensemble member who also adapted and directed the company's Tony Award-winning 1988 production of Steinbeck's “The Grapes of Wrath,” finds humor within the melodrama. And it is melodrama, well-conceived though it may be.

With that in mind, there's not much room for subtlety in Steppenwolf's talky “East of Eden.” Certainly not in the long-winded expositional speeches, which Steven Park has the thankless task of delivering. And not in Rob Milburn and Michael Bodeen's original musical accompaniment for harp and cello, whose tremolos and dissonance telegraph the characters' uncertainty and apprehension. And not in Walt Spangler's imposing and impressive set dominated by a very obvious visual metaphor. A massive tree that from certain perspectives looks like conjoined trees — separate but growing in tandem — looms over the space where this re-imagined biblical tragedy unfolds.

The story takes place on a windswept piece of farmland in California's Salinas Valley belonging to a couple recently arrived from Connecticut. Adam Trask (a guileless, nicely conflicted Tim Hopper) intends to create an Eden for his beloved wife, Cathy, played with unwavering bitterness and determination by a disturbingly hollow Kate Arrington. Years earlier, Cathy showed up bruised and battered at the Trask family doorstep and remained with them until she married Adam and moved west.

Decent and kind — if somewhat obvious — Adam fails to comprehend fully his cruel and remorseless bride, whose smile never reaches her eyes. She has lost that piece of her soul that allows her to love, if she ever had it at all.

Adam's neighbor Samuel Hamilton (Francis Guinan), a jovial Irish immigrant, senses something about Cathy is wrong. Still, he helps her deliver her twin sons.

Within days of their birth, Cathy informs Adam she's leaving him and the boys. When he tries to stop her, she shoots him. Bewildered and heartsick, Adam wraps himself in his own sorrow while his faithful Chinese servant Lee (Park), the play's resident sage and moral authority, does his best to raise the boys: dark-haired, passionate Caleb (a desperate, self-aware Aaron Himelstein, of Buffalo Grove) and sweet, blonde Aron (the vulnerable Casey Thomas Brown).

Years later, the twins, whose names reference those original sibling rivals, have grown into rough and tumble teenagers within the alternative domesticity Adam and Lee have established. Still, their behavior makes obvious the void caused by the absence of a mother they believe to be dead.

How desperately they need some tenderness in their lives is evident from their encounter with Abra (fine work by the effortlessly charming Brittany Uomoleale), who offers the brothers the affection they never had.

Fast forward a few years. Aron, his father's favorite although we never really learn why (save for his resemblance to Cathy), and Abra are involved in a romantic relationship. Meanwhile, the increasingly resentful Caleb becomes convinced his father doesn't love him, although we're given no reason for it. (Seeing as how Hopper's Adam remains detached from his sons throughout the play, it's hard to tell whom he favors.) In an attempt to buy his father's love, Caleb partners with Dan Waller's pragmatic Will Hamilton in a venture that amounts to war profiteering. Frustrated by his father's rejection, Caleb — who has learned that Cathy is alive and running a brothel — reveals the truth about his mother with tragic consequences.

Character motivation is murky. For example, there's no hint why or when Abra's affection shifts from Aron to Caleb. And the play's long-winded exposition needs editing.

Still, Steppenwolf's adaptation is very good. With some tweaking, it will be great.

Caleb (Aaron Himelstein), left, and Aron (Casey Thomas Brown) encounter Abra (Brittany Uomoleale), third from right, the girl they will both grow to love, in Steppenwolf Theatre's "East of Eden." Director Terry Kinney's world premiere also stars Tim Hopper, left, Elizabeth Laidlaw and Alan Wilder. Courtesy of Michael Brosilow

The remorseless Cathy Trask (Kate Arrington) taunts her husband, Adam (Tim Hopper), in Frank Galati's adaptation of John Steinbeck's "East of Eden," in its world premiere at Steppenwolf Theatre. Courtesy of Michael Brosilow

Samuel Hamilton (Francis Guinan) promises he'll find water on Adam's (Tim Hopper) land in Steppenwolf Theatre's "East of Eden," adapted from John Steinbeck's novel by ensemble member Frank Galati. Courtesy of Michael Brosilow

What appears to be two trees dominate Walt Spangler's impressive set for Steppenwolf Theatre's "East of Eden." Courtesy of Michael Brosilow

Adam's (Tim Hopper), left, praise of son Aron's (Casey Thomas Brown), second from right, ambition and rejection of the monetary gift from his son Caleb (Aaron Himelstein), second from left, sparks a tragedy in "East of Eden," running through Nov. 15 at Steppenwolf Theatre. Brittany Uomoleale, right, plays Abra. Courtesy of Michael Brosilow

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★ ★ ★

Location: Steppenwolf Theatre, 1650 N. Halsted St., Chicago, (312) 335-1650 or <a href="http://steppenwolf.org">steppenwolf.org</a>

Showtimes: 7:30 p.m. Tuesday through Friday and 3 and 7:30 p.m. Saturday and Sunday through Nov. 15. Also 2 p.m. Oct. 28, Nov. 4 and 11. Also 1:30 p.m. Nov. 8. No 7:30 p.m. shows Nov. 1 and 8

Running time: About three hours, including two intermissions

Tickets: $20-$89

Parking: $11-$13 in the Steppenwolf garage

Rating: For teens and older, contains violence and sexual situations

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