The Grapes of Wrath

Frank Galati ("Ragtime," "Seussical") won awards in London and New York after adapting John Steinbeck's classic dust bowl saga "The Grapes of Wrath" for Chicago's Steppen- wolf Theater in 1989, and this West Coast Ensemble staging im- pressively conveys the sweeping throughline of the novel and makes wonderful use of period songs. Faultless portrayals are turned in by John Marzilli as the former preacher Jim Casy and Robert Gantzos as prodigal son Tom Joad in this tale of the 1930s exodus from the dying fields of Oklahoma to the supposed promised land of California. Helmer Claudia Jaffee guides the large 25-member ensemble through Steinbeck's unwieldy epic with deft precision.

Not all the characterizations and accents ring true but the thematic surge never lags. Marzilli's Casy quite believably takes on the burden of spiritual conscience to the family's westward quest, investing an emotion-wrenching veracity to his declaration that "a person don't have a soul of his own, only a piece of a big one." Gantzos' Tom segues impressively from taciturn ex-convict to a deeply committed fighter for human rights, once he realizes how much the working men and women are being exploited and abused.

Two outstanding performances are turned in by Crystal Jackson and Larry Lederman Ma and Pa Joad, who convey the bedrock courage of true pioneers, determined to maintain their integrity and rapidly disintegrating family as they forge west in the hopes of finding decent work and self- respect. Lou Wagner is also memorable as Uncle John, a tragic soul who can never forgive himself of the sins of his past.

Kelly Ann Ford offers a luminous portrayal of the Joads' pregnant eldest daughter, Rose of Sharon. Her play-ending acceptance of her role in the saving of a man's life is tangibly haunting. Unfortunately, Brent McEwan never seems to grasp the role of Rose's ineffectual husband, Connie Rivers.

There are many excellent cameo performances turned in by members of the ensemble as the Joads doggedly make their away across the west and into the Golden State.

One riveting performance is given by Gary Cearlock who gives a horrific but prophetic warning about the terror that awaits the Joad family on their arrival in California.

The period music, supervised by Don Cummings, and Scott A. Vandrick's choreography adds needed texture to the dialogue-filled show. Singer/guitarist Cummings and violinist Mira Lew effectively move in and out of the action, lending diversion from the many scenic changes.

Visually, Evan A. Bartoletti's minimalist set, the effective lighting of Lisa D. Katz and the accurate, representational costumes of Diana Eden evoke a tangible sense of period authenticity.

Of special note is the highly creative use of the most dominant set piece, the Joads' aging pickup truck, giving tangible proof of the family's fierce determination against insurmountable odds.