Originally slated to open in February 2020, Steppenwolf Theater’s political dramedy had to lie in wait through a global pandemic, a shutdown, mass racial injustice protests, an insurrection and a war in Europe before it could make its triumphant debut on Broadway. Two (mind-bogglingly transformative) years later, master playwright Tracy Letts’ story still feels as if it takes audiences on a grand tour through the gamut of American sociocultural zeitgeist: a small-town City Council meeting starts with a proud trinity of group prayer, the pledge of allegiance and a recap of the local high school football team’s escapades, only to swiftly devolve into a myriad of bitter disputes ranging from usage of politically correct language, naked self-interest, civic corruption and, finally, long buried secrets of institutional sin.

The Chicago theater company’s brilliant cast delivers poignant and witty performances across the board. Newcomer Noah Reid (Mr. Peel) as the rookie councilman who missed one meeting and spends the entirety of the next one trying to catch up, is splendid as the proverbial straight man in a den of absurd power struggles; Letts himself as Mayor Superba, alongside his two sidekicks – Cliff Chamberlain as the acerbic Mr. Breeding and Jeff Still as the tight-lipped Mr. Assalone – are, collectively, old power personified; comic relief is provided in spades by Austin Pendleton (Mr. Oldfielf) and Blair Brown (Ms. Innes,) both delivering preposterous satire with meticulous timing.

Letts frequent collaborator, director Anna Shapiro, does a deft job orchestrating so many talented thespians on the stage at the very same time. Tony award-winner David Zinn’s marvelously detailed scenic design is made all the more striking courtesy of Studio 54’s high vaulted ceiling and cavernous space; the set, alongside Brian MacDevitt’s Lighting and André Pluess’ sound design, evoking a perfectly realistic thunderous afternoon in Big Cherry, complete with the occasional chilling undertone… The uneasy vibes come to a head when the story takes a sharp and somewhat unexpected twist in its final half-hour, when the harmlessly dysfunctional weekly panel gathering suddenly pivots from funny to foreboding. Letts and Shapiro’s finely tuned play is then rounded up with a wickedly unique final scene, bringing a surreal finish to an overall impressive work. Steppenwolf’s The Minutes is gathering popularity by the day: its sharp writing and great ensemble acting help elucidate political injustices both small and large in a powerful and tangible way.

For tickets visit The Minutes on Broadway