Will Arbery tackles the climate crisis with a funny nightmare about human and environmental fragility.
There are four vibrant actors in Will Arbery’s bracing play “Evanston Salt Costs Climbing,” at Pershing Square Signature Center, but the show also has two starslisted in the program: a pair of immense garage doors. The designer Matt Saunders has filled the proscenium, from the floor to the grid, with a huge wall—an expanse of what looks like corrugated steel pierced by those twin roll-up garage doors, with a single human-size door standing between them.
“Evanston Salt Costs Climbing” tells the tale of three frozen Januaries—2014, 2015, 2016—and of the two guys who drive Evanston’s salting truck, the mentally unstable Peter and the secretive Basil . Their casting is canny: Kreager played a creepy cop on “Mare of Easttown”; Leung starred on “Lost” for years. “Evanston” exists somewhere between those two shows, toggling from “Easttown” ’s gritty, wintertime realism to “Lost” ’s Manichaean, allegorical menace.
Arbery is the playwright of the moment—both our fascism-adjacent political one and the global-existential climate-crisis one. He was a Pulitzer Prize finalist in 2020 for “Heroes of the Fourth Turning,” his portrait of the right-wing faithful; this production, staged by the New Group and directed by Danya Taymor , is the second major production of his to appear in New York this year. Taken together with his more experimental play “Plano,” these works display the components of the Arbery style.
Taymor, as before, explores all Arbery’s delicate shadings. Peter and Basil communicate in a shorthand built during their long nights on the roads, and the wonderful Leung and Kreager infuse a few pages of sophomoric back-and-forth with complex dramatic layers. Their boss, “assistant public works director in charge of city snow removal operations” Jane Maiworm , likes to pop by in the predawn hours before the men head out on their rounds.
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