‘Russian Transport’ is compelling theater with dark, dark undertones

Newcomer Erika Sheffer has crafted a satisfying, albeit imperfect new play receiving its world premiere at The New Group in New York City. Russian Transport initially feels like a been-there-done-that dysfunctional family drama. We’ve seen many of these ensemble pieces before, all engaging, but only intermittently original. What sets Sheffer’s two-act play apart are the serious undertones attached to each character. It’s difficult to support any of these people; they all seem to be sitting on a secret that once revealed will shake the very foundations of this nuclear family.

As a two-hour-15-minute evening of heightened drama, Russian Transport succeeds immensely. The dialogue, spoken in both Russian and English, is expertly written, and the conversations all feel organic and true. The acting, for the most part, follows suit. Whether it’s Janeane Garofalo’s stern mother or Raviv Ullman’s dedicated son, this family unit feels functional and authentic — and that’s a credit to both the playwright and the assembled actors.

What disrupts this Russian immigrant family living in Sheepshead Bay, Brooklyn, is the visit of Boris (Morgan Spector), the mysterious brother of Diana (Garofalo). As soon as he walks through the door, one can tell that all will not be the same again. Boris has an uncanny way of breaking boundaries without blinking an eye. He holds onto hugs a little too long. He kisses his family members a little too vigorously. He talks of business prospects in Brooklyn with an unseemly forcefulness. The man is a cultural ambassador of sorts, wanting to bring a little taste of Old Russia to these newly gentrified Americans.

Like a stalker, Boris hones in on the children of Diana and Misha (Daniel Oreskes). He sees great potential in Alex (Ullman), a teenager who works at a cell phone retail outlet and moonlights as a petty drug dealer. Boris likes him, and think he can use Alex as a driver in an illegal operation involving the transport of young Russian women.

The visitor also takes a liking to Mira (Sarah Steele), Diana and Misha’s teenage daughter. Their relationship is at first flirtatious, which is creepy unto itself, but then it travels to even darker passageways — all the while, Mira’s parents are unknowing or unwilling to accept Boris’s boorish behavior.

Of the cast members, Oreskes turns in a powerful performance as the father figure trying to protect his family from the intrusion of his brother-in-law. Everyone except the children speaks with a Russian accent, and Oreskes comes off the most authentic. He has a way of speaking with his hands and letting the dialogue roll off his tongue, helping to create a portrait of a man struggling with the weight of the world on his shoulders. He can’t turn his car service business into a profitable venture, and he continues to worry about the upbringing he’s providing for his children.

Garofalo is also effective, although she could exploit the mystery of Diana a little bit more. This character comes off as the strongest and most severe. She has a way of pulling up her bootstraps (and the bootstraps of her family members) and never accepting anything but the best. Her children work for the family’s best interests, turning over their meager wages to help put food on the table.

In many ways, Diana feels like the accountant of the family, pulling dollars from various sources and paying off the bills just a few days before they’re due. Garofalo, the one actor on stage who struggles to convince with her Russian accent, is occasionally spot-on, but there are times when the character feels slightly underwritten and overacted.

Steele and Ullman are quite good in their difficult roles. Russian Transport may deal with the nefarious goings-on of the adults in the room, but it’s the children who feel the consequences. Spector, too, is a genuinely strong addition to the cast. He exudes a sex appeal, but always with a simultaneous feeling of danger. He’s like a cocked pistol, ready to fly off the handle if a situation doesn’t go his way.

Scott Elliott directs the play with a nice focus on the ensemble back-and-forths among the family members. The set by Derek McLane feels a little cramped, which is probably a good quality for this struggling family. On the small stage at the Acorn Theatre, where Russian Transport continues until March 24, the characters need to almost walk on top of each other to move around a kitchen table or living room couch.

The lasting impression of Russian Transport has less to do with the strengths of the play, and more to do with the strengths of the playwright. Sheffer is one to watch and this fine family drama is a most welcome debut.

By John Soltes / Publisher / John@HollywoodSoapbox.com

• Russian Transport

• A production of The New Group

• Written by Erika Sheffer

• Directed by Scott Elliott

• Starring Janeane Garofalo, Daniel Oreskes, Morgan Spector, Sarah Steele and Raviv Ullman

• Running time: 135 minutes

• Currently playing at the Acorn Theatre at Theatre Row, 410 W. 42nd St. in New York City. Click here for more information.

• Rating: