Gabriel Jason Dean’s RIFT, now receiving its UK premiere at the Traverse Theatre as part of the Edinburgh Fringe, is a searing and deeply personal exploration of familial bonds stretched to breaking point by ideology, trauma and time. Inspired by Dean’s own relationship with his brother, a convicted white supremacist, this taut two-hander is as compelling as it is unsettling.
The play follows two brothers over several decades: one, a progressive writer (played by Blake Stadnik), the other, a violent felon and high-ranking member of a white supremacist prison gang (Matt Monaco). Their shared childhood trauma forms the backdrop to a series of emotionally charged encounters, as they attempt to reconcile their fractured relationship against the backdrop of America’s cultural and political divides.
Dean’s writing is sharp and layered, keeping the audience guessing as the story unfolds. The script refuses to offer easy answers, instead probing the uncomfortable question: is it possible to love someone whose beliefs you fundamentally abhor? The result is a production that feels both timely and timeless, rooted in the specifics of American identity politics but resonant far beyond.
Matt Monaco is chillingly effective as the incarcerated brother. He brings a terrifying volatility to the role, yet never loses sight of the character’s vulnerability. Opposite him, Blake Stadnik delivers a nuanced portrayal of a man torn between loyalty and revulsion. His character’s arc, from uncertain student to successful author, is the emotional spine of the piece, and Stadnik handles it with quiet power.
Director Ari Laura Kreith keeps the staging minimal, allowing the performances and text to take centre stage. The intimacy of Traverse 2 works in the production’s favour, drawing the audience into the claustrophobic emotional space between the brothers.
RIFT is not an easy watch, but it is a necessary one. It asks difficult questions and refuses to let its audience off the hook. It’s a production that deserves to be seen widely, and could easily find an audience in London’s West End.
