THE SINS OF THE FATHER

A Holocaust survivor’s anguish casts a long shadow
over his son’s future in Cary Gitter’s family drama

Amanda Kristin Nichols and Leighton Samuels

In 1935, Smedley D. Butler, a retired Marine Corps Major General and two-time Medal of Honor recipient, stated: “War is a racket. It always has been. It is possibly the oldest, easily the most profitable, surely the most vicious.” We hardly need to look far for current examples, and war’s victims, the poor NPCs in the grand financial schemes of a privileged few, are not merely those who end up dead or physically maimed. There is a much larger casualty list: people who must live with the memory of the violence they have endured, of loved ones killed or tortured, with homes reduced to rubble, livelihoods destroyed, communities scattered, and faith in humanity forever gone.

Sam Guncler and Leighton Samuels

The war may officially end, but its consequences can last a lifetime, much like the aftermath of a nuclear catastrophe, and this is the emotional backbone of The Steel Man, a linear drama written by Cary Gitter and directed by Joe Brancato, now playing at 59E59 Theatres. Inspired by a true story, the play follows Jake Gellert (Leighton Samuels) as he tries to step out of the shadow of his father, Leo (Sam Guncler), a Hungarian Holocaust survivor, with the help of his forward-thinking girlfriend Chris (Amanda Kristin Nichols).

Sam Guncler and Leighton Samuels

Seventy-year-old Leo remains consumed by anger, distrust, and thoughts of revenge four decades after the end of the Second World War. He screams in his sleep, tormented by nightmares; he is prone to unexpected, uncontrollable outbursts, which his recently deceased wife and Jake have had to endure; and he trusts no one, having witnessed too many so-called neighbors and friends betray Jewish families during the war. Other than that, he is a good man.

Sam Guncler, Amanda Kristin Nichols, Leighton Samuels

His son Jake, approaching thirty, is aware that staying in Pittsburgh means putting his own potential on hold, but he wants to anchor a grieving father who is trapped in the past. Psychologists call it parentification: he feels responsible for his father’s survival, emotional well-being, and connection to reality. However, getting through to Leo is no easy task. He is a hardened, intractable character, yet Guncler manages to strike a delicate balance between his toughness and the vulnerability he so stubbornly conceals, delivering a very touching performance.

Leighton Samuels, Amanda Kristin Nichols, Sam Guncler

Lively Samuels and Nichols make a thoroughly convincing couple as Jake and Chris, two young people navigating the uneasy territory between the inherited expectations of an older generation and the uncertainties of a rapidly changing world. Chris is a force of nature, restless, resourceful, and ready to make her mark in New York. Jake is more than happy to follow, recognizing that his own future might look considerably brighter with her by his side, but he needs to deal with his father first.

Sam Guncler and Leighton Samuels

The accurate scenic design by Christopher and Justin Swader reflects a working-class household that hasn’t been updated in more than a decade, a common reality during the severe 1980s steel recession in Pittsburgh. Leo’s living room is furnished with all the familiar hallmarks of early-1970s domestic décor: vertically striped floral wallpaper, a rolled-arm sofa in a faux French Provincial pattern that coordinates enthusiastically with the walls, and an inviting overstuffed armchair, the throne of the man of the house. Costumes by Christian Fleming, instead, brilliantly chart the generational divide. Jake channels the massive revival of 1950s Americana that swept through the early and mid-eighties, and Chris, as a young journalist, embraces the flamboyant new-wave street look of the era, with punk boots and big hair. Leo’s appearance tells a different story: his functional, 1970s-inspired clothes preserve the image of a no-nonsense working man, seemingly frozen in the same time capsule as the apartment’s décor.

The set and costume design do a remarkable amount of storytelling; Ed McCarthy’s lighting is crisp and unfussy; Max Silverman’s music and sound design complement the authenticity of the piece; and the director and cast rise admirably to the occasion. The trouble is that the story promises more fireworks than it ultimately delivers. An almost shocking truth from Leo’s past appears to be within reach, or an unexpected visit that might turn everything on its head. Instead, the narrative loses its nerve and settles for considerable restraint, something that might work perfectly well in a novel but feels less satisfying on stage. Nevertheless, it is a worthwhile production, and it reminds us of the long shadow cast by unnecessary wars, waged at enormous human cost for the enrichment of a privileged few. It is a sobering message, one that feels depressingly relevant today.

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photos by Carol Rosegg

The Steel Man
Penguin Rep Theatre
59E59 Theaters, Theater B, 59 East 59th Street, New York
85 minutes, no intermission
Tue–Fri at 7:15; Sat at 2:15 & 7:15; Sun at 2:15
ends on December 13, 2026
for tickets ($54, including fee), call 646.892.7999 or visit 59E59 Theaters

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