Writing a play about one's subconscious mind is on its face a daunting task. Take that a step further and adapt Haruki Murakami's best selling "Kafka On The Shore" for the stage is nearly impossible. Enter, Steppenwolf, the only theatre company in the world that make the impossible possible and add in the mix Tony award winning director Frank Galati, and you end up having a feast for mind and for the eyes, as long as you don't over think the premise. In this much anticipated adaptation, which is described as "a young boy's coming of age parallels an old man's search for destiny in modern day Japan where the everyday reality, dreams and imagination are constantly crossed", the less you try to figure out where the story goes next, the more you will like this physically beautiful production.

The first act lays the basic framework for two stories to be implemented. With Kafka, we see the subdued teenager at the point of his sexual awakening, juxtaposed with being taking in by a transgendered librarian and having an almost Edipus relationship with Miss Saeki who manages the library where Kafka ends up living. For Nakata, the cat whisperer, we see more of an absurdist viewpoint where Johnny Walker appears and systematically kills the cats to make a flute out of their souls (again, don't over think). As these parallel stories mature, one can gleam that Johnnie Walker is Kafka's may manifest as Kafka's father who was murdered.

The second act is much more satisfying, maybe just for the reason that the initial shock of confusion is over ending with some of the story lines being answered, and true to the real Kafka, many left for us to come up with our own resolutions. Kafka On The Shore features stand out performances, in addition to Larkin (who is Jefferson worthy), Gerson Dacanay Otsuka is a sympathetic and likable character while Lisa Tejero gives the mysterious and beautiful Ms. Saeki grace and in her own way, innocence.

David Rhree, who recently gave a fantastic performance in Boho's M. Butterfly, is equally as brilliant here as Nakata. His broken dialogue and angst make for a truly heartwarming and heartbreaking performance. Then there is Steppenwolf stalwart Francis Guinan, who truly envelopes both his characters of Johnnie Walker and Colonel Sanders with panache and a bit of verbose.

The true star of this avant garde piece is Frank Galati's direction. Galati keeps the movements simple and the scene action uncomplicated. This allows the dialogue and the acting to come to the forefront and provides for a much more centered and understandable story.

Is this a show for everyone? No. But for those theatergoers to want some true escapism with a little Fraud to boot, Kafka On The Shore will certainly be a work that will keep you engaged and talking long after the show is over.

Kafka On The Shore runs through November 16, 2008 at the downstairs theatre at Steppenwolf, 1650 N. Halsted, Chicago. For showtimes and tickets please visit www.steppenwolf.org.