*** I believe it best to advise from the very outset that the play I am about to talk about contains strong language, mature themes, drug use, and violence. In addition, during the play, audiences will witness violence, gunshots, loud sounds, flashes of light, haze and other disturbing items. Now that I have done the warnings, let’s get into the World Premiere of Netta Walker’s “Hayward”, now being performed at Steppenwolf’s 1700 Theater. This play, smoothly directed by AmBer Montgomery on a remarkable set designed by Sydney Lynne, is a chilling look at a family and the connections between its members.

The story begins with a funeral ( and I must tell you, the turn off your phone message is a delight). Luna (deftly handled by Ireon Roach) is making her speech about her father ( who has passed) when she sees his image in the church. Evidently, he is not finished dealing with his family. During the next 75 minutes, we are treated to an inside look at this family. Tony (Watson Swift) is a constant, and yet, we know very little about him. We do know that he was a member of the Navy during the Gulf War, that he raised a child that was not his, and that his love for his family was not what one might call typical.

Pastor Johnson (Alfred Wilson) represents the party that is an instigator and an agitator, stirring up the family no matter what. The family members, Eric (Victor Musoni), Leila (Sydney Charles), AJ (Gregory Fenner), and their mother, Maria ( Shanesia Davis) appear to be stereotypes that one might expect in a sitcom or perhaps even a Tyler Perry movie ( one that he doesn’t do in drag), and I must say that the “N” word is overdone. Like “Hamlet” and “Electra”, the ghost brings out lots of thoughts of the past and feelings that had been bottled up and kept inside. Can this father reunite with his daughter after death? Can she forgive and forget what wasn’t right in their relationship?

I was impressed by the direction, the set, and the performances. I do feel that if people are to smoke on the stage, they need to know more about doing so. The way they light the fake cigarettes and hold them looks stilted and fake, as well as drawing attention away from the action on the stage. Perhaps it is time to get rid of the smokes and concentrate on the characters.

The tech portions of this production are super. The lighting ( G “Max” Maxin), sound (Daniella Brown), and costumes (Saawan Tiwari) were all terrific. The props by Mariah Bennett were terrific, and the fight choreography by Maya Vinice Prentiis was quite realistic. Again, the set was designed in a way that allowed for quick transformation and made us, the audience, feel as if we were breaking the fourth wall, and watching the events take place. Very impressive!

“Hayward” will continue at The Steppenwolf 1700 Theater, presented by The Gift Theatre through Nov 15th with performances as follows: