By John Lyle Belden

With the passage of time, we are often prone to looking back at particular eras. Stephan Karam’s Tony-winning play, “The Humans” takes a snapshot of a day during the years between the national traumas of 9/11 and Covid.

In this 90-minute (no intermission) drama, presented by American Lives Theatre at the Phoenix Theatre Cultural Centre, Brigid and her partner Richard (Susannah Quinn and Trent K. Hawthorne-Richards) are hosting Thanksgiving dinner for her family – parents Erik and Deidre (Eric Bryant and Eva Patton), older sister Aimee (Jenni White), and grandmother “Momo” (Wendy Brown) – in her new apartment located in Manhattan’s Chinatown.

It’s a big place for New York, split-level on ground floor and basement, connected by a narrow spiral staircase, but with a view only of a cigarette butts and ash-filled inner courtyard, as well as the occasional disturbing mysterious noises from the neighbors. The one bathroom upstairs, while kitchen and dining area are below, becomes an issue because Momo has severe dementia and, though able to walk some, mostly gets around pushed in a wheelchair; also, Aimee has frequent intestinal symptoms from her ulcerative colitis.

These factors, as well as general family awkwardness, plus Erik and Richard each relating the weird dreams they have been having, serve up all the ingredients for a family-holiday comedy. However, while there a quite a few good laughs in this show, the overall tone is set by Erik’s Thanksgiving toast “to knowing what’s important,” because “one day, it goes.”

We find that each character has something slipping away or lost. As the plot gains substance, it draws out the essence of American life in the early 21^st century: that we perpetually, for the sake of our sanity, ignore that every one of us is one setback away from catastrophe. The odd sounds, the grandmother’s babble of insistent phrases you almost understand, as well as individual reflections on a past September day, bring the fast-flowing currents of fear closer to the surface.

Plus, we learn about “pig smash,” which looks kinda fun.

Matthew Reeder directs, assisted by Jacob David Lang, on an excellent stage set by Rozy Isquith, featuring metal spiral stairs that are legendary around Indy theatres.  

As for the cast, this ensemble all know how to bring the feels. I find it difficult to single out any particular performance – White and Brown are among our friends, but I still think it’s fair to call them exceptional: White can play having all-the-problems while still being sweet and relatable; Brown gives a tender performance, punctuated by confusion, anger, and moments of something approaching mischief. Hawthorne-Richards works with nervous charm as the outsider point of view on the others’ family dynamic, and it’s nice (especially for something set only about a decade ago) that it is this different upbringing more than his skin tone that sets him apart.

Bryant brings gravitas to his paternal role, reflecting experience (on other stages) of seeing the story as a director (here, it’s Erik knowing this may not end well) and feeling it as an actor (struggling with circumstances he can’t control). Quinn plays the desperate soul bargaining that if one dream comes true – Brigid getting a nice place to live – her others don’t have to die, either. Patton maintains the stage tradition of the Mom who is like a rock while dealing with the growing cracks.

Walls thump and lights flicker, but knowing how fantasy stories end, we understand what it is that the ghosts and shadows fear. “The Humans” runs through May 11 on the Phoenix main stage, 705 N. Illinois, downtown Indianapolis. Get tickets at phoenixtheatre.org, information at americanlivestheatre.org.