Published in 1952, “East of Eden” was John Stenbeck’s most ambitious novel, bringing to life the Trasks and Hamiltons’ interwoven stories in California’s Salinas Valley before World War I.

Steinbeck himself said, “Everything else I have written has been, in a sense, practice for this... surely the most difficult work I have ever done... always, I had this book waiting to be written.”

Americans probably best know the semiautobiographical novel from the James Dean 1955 film. And so, it must have been short of no Herculean task for Steppenwolf ensemble member Frank Galati to adapt and honor this grand American epic. As the Steppenwolf promotional material states, is it possible to escape the mistakes of previous generations and choose your own course? Galati brilliantly emphasizes sibling rivalry, family secrets and the struggle to be good.

Galati directed and adapted Steinbeck’s “Grapes of Wrath” in 1988, which transfered to Broadway and London and received two Tony Awards, and I get the sense with this world premiere production kicking off Steppenwolf’s 40th anniversary, the hope is the same for “East of Eden.” Galati indulges us with short scenes that are engrossing, well-paced and captivating. The development of the Trask family takes precedence over the Hamiltions, a family, in this adaptation, reduced to Sam Hamilton, son Will Hamilton and multiple references to Liza, the wise wife. The production contains nuggets of humor and a quick pace, despite being two hours, 30 minutes.

Ensemble member and Steppenwolf co-founder Terry Kinney (known for television roles in “Oz” and “The Mentalist”) directs “East of Eden.” He appeared in the 1988 “Grapes of Wrath” production at Steppenwolf, as did cast members Francis Guinan, Tim Hopper and Alan Wilder. Kinney doesn’t fail this production. He cast correctly, his staging is glorious, the period costumes of Mara Blumfield are exquisite and the tree-dominated, minimalist set design by Walt Spangler is visually stunning. A cellist and harpist in the balcony underscore the production.

But, despite the intimacy and attractiveness of the theater setting, it’s difficult to become involved with this production. I didn’t bridge the fourth wall until the last scene. There are definite moments when you should feel despair, hurt, sorrow and joy, but you don’t feel, you observe. Is it because some actors haven’t yet completed their journey into their characters?

Those actors look the part, they just aren't yet the part. Refinement needs to be done. The absence of chemistry and actor stiffness will wane as the production goes on.
Francis Guinan, one of my all-time favorite Chicago actors, is wonderful as the sage and world-weary Samuel Hamilton. His curly, unemcumbered white hair and beard frame the majesty and humor of his character, but, unfortunately, he is gone after Act One. Another standout is Stephen Park as Lee, the character responsible for holding the Trask family together and the symbol of timshel (man's ability to choose between good and evil). Aaron Himelstein is almost wonderful as the overlooked son, desperate for love. He shines in Act Three, but he doesn't quite project comfortableness in his character of Caleb. Kate Arrington is a gorgeous Cathy Trask, the deserting mother who must project a lack of human kindess and compassion, a difficult job for any actor, to be sure. Her eyes are dead, and you truly believe she has lost all hope of humanness.

The other ensemble actors will get there. And because of its importance and clear retelling of Steinbeck’s classic, I do recommend this production at Steppenwolf. Maybe just wait a bit.

• Regina Belt-Daniels is a working actress and director who began her career onstage  in 1985 at the Woodstock Opera House. Currently serving on the Raue Center for the Arts Board, she also is a lifetime member of TownSquare Players and a retired District 47 teacher.