Four years ago, playwright Rebecca Gilman moved to the Wisconsin prairie. She joined the Prairie Enthusiasts to help protect an undervalued ecosystem. Setting the play in her new home inspired during shadows of the pandemic, Gilman addresses the manner in which our dependence on one another is also damaged. Her characters are perhaps more antagonistic and pessimistic, even hopeless, than they might’ve been. Awareness of loss and search for purpose are endemic. The small community she depicts is a microcosm of what’s going on nationwide.

Mary Beth Fisher (Peg), Bubba Weiler (Ryan)

Otherwise pioneer-formidable, Peg (Mary Beth Fisher) was knocked off her axis by husband Jim’s unexpected death. The passionate environmentalist left a legacy – joy in and anxiety about the threatened state of untouched land. Purchase of their 58 acres is a lovely story. Peg continues to steward her property, refusing sale to developers. In her mind, that commitment is one of only two reasons to live.

The second is Ryan, a 20 something ex-con for whom Peg has acted as a surrogate mother since childhood. The young man was subject to an alcoholic home and ran with the wrong crowd. He found safety, attention and love with Peg and Jim. Each feels protective towards the other. She wants to give him reason to stay clean; he’s sufficiently sensitive to observe her despair. When Peg tells Ryan she put the prairie in a conservation easement, but left him the house, barn, and acreage around them, he becomes more anxious about her possible self harm.

Peg notices a trunk of antique tools and an old Winchester rifle missing from the barn. Sheriff Kris (Kirsten Fitzgerald) has personal reasons for suspecting Ryan and begins to hound him. Her newly hired deputy, Dani (Anne E. Thompson), also her niece, is kinder and daunted by her aunt’s behavior. Sensing danger, Peg wants to forget the whole thing. She questions Ryan who denies responsibility.

Sheriff Kris won’t back down. Ryan makes mistakes. Poor Dani becomes swept up in circumstances she can’t control. Shocking (and beautifully staged) tragedy occurs. The play ends as wounded souls reach out to one another.

Anne E. Thompson (Dani), Kirsten Fitzgerald (Sheriff Kris), Mary Beth Fisher (Peg)

Rebecca Gilman contrived the piece with passion and skill. Everything shifts into place. Though what’s unspoken is sometimes telegraphed, its appearance never fails to affect. The playwright’s morality is as appealing as her perception is keen. Speeches about the prairie are marvelous. As to the title, in addition to polarity of emotions, apparently in her swing state township, Biden won by two votes. Perhaps, she conjectured in one interview, that of she and her husband.

Mary Beth Fisher originated lead roles in two of Gilman’s successful plays at Goodman Theatre. The playwright stipulated she would play Peg. Nuanced in a quicksilver role, Fisher is a naturalistic actor. She infectiously lights up describing the prairie. Signs of internal struggle subtly influence everything. One can almost feel Peg’s heart beat faster as she tries to safeguard Ryan and her chest constrict as she shares truth. Tenderness is apparent without a sentimental word or single touch.

Bubba Weiler (Ryan) may be on his way to becoming a young James Dean. Like a mistreated animal adopted at the pound, he’s palpably edgy, quick to snap, suspicious of everyone but Peg. Weiler’s physical acting – including panic attacks – reads true. A thespian to watch.

Bubba Weiler (Ryan), Ann E. Thompson (Dani)

Both Kirsten Fitzgerald (Sheriff Kris) and Anne E. Thompson (Dani) offer solid portrayals. The sheriff treats Ryan like a rash she keeps scratching and ultimately is compelled to more forceful tactics. Underlying pain lies just below the surface of gruffness. Thompson’s deputy is sympathetically naïve and vulnerable. The actress manifests confusion, gratitude, and growth with delicacy.

Director Robert Falls creates a production without a false moment. Small business is as specific as motivated blocking. Characters are given time to think and emote. The nature of relationships is conveyed with every glance. Indecision – particularly hard to present realistically – is credible. There’s a moment, for example, when Peg gets up then immediately sits down…

Todd Rosenthal’s set is so realistic, one is tempted to check the fridg for leftover zucchini cake. He’s created a kitchen (and ancillary den) with cozy, lived-in, Midwestern detail. Architecture feels right, as does the beamed ceiling.

Costumes by Evelyn Danner fit characters, economics, even activities to a T.

Once again, thanks go to Chicago’s Goodman Theatre for sharing.

Photos by Liz Lauren
Opening: Mary Beth Fisher (Peg)

Swing State by Rebecca Gilman
Directed by Robert Falls
Through October 28
Minetta Lane Theatre 
18 Minetta Lane

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