The cast of “Other Desert Cities” rehearses a scene at Butler Little Theatre on Tuesday, April 23. Submitted Photo

Leo Tolstoy's novel “Anna Karenina” opens with the words: “Happy families are all alike; every unhappy family is unhappy in its own way.” In Butler Little Theatre’s production of Jon Robin Baitz's family drama “Other Desert Cities,” set against the backdrop of a politically charged era, director Katie Moore orchestrates a deep dive into the intricate dynamics of familial turmoil, echoing Tolstoy's timeless observation.

As the narrative unfolds, the ensemble cast skillfully explores the complexities of their characters' emotional landscapes.

Brooke Wyeth (Laura Crago) has returned to her parents’ Palm Springs home for the first time in six years, bringing with her the unwelcomed news that her new book is not a novel but a memoir focusing on her brother, Henry, who died by suicide after helping to blow up an Army recruiting station with a Weather Underground-like group. Brooke is recovering from depression and tells her family she has a handle on it; however, the amount of self-medication she undertakes with alcohol and drugs suggests otherwise. Crago imbues Brooke with a compelling blend of vulnerability, portraying a woman grappling with her inner demons while confronting her family's past.

Terri Schultz captures the essence of Polly Wyeth, a retired scriptwriter and now conservative matriarch striving to maintain appearances amid underlying tensions. Tom Smithyman brings gravitas to his role of Lyman, the patriarch and former film star and ambassador, as he attempts to use his political prowess to navigate the familial discord.

The son, Trip, (Sam Thinnes) produces a People’s Court-like TV show with a jury filled with B-Level former stars. Thinnes infuses Trip with layers of complexity, skillfully moving from happy-go-lucky to self-pitying to raw anger throughout the production.

Alison Carey shines as Silda, offering a nuanced portrayal of a woman grappling with addiction while seeking redemption. Carey creates a Silda who is the mirror image of Polly, her sister and former writing partner at MGM.

The tension mounts as the specter of the missing son looms over the narrative, unraveling buried resentments and unspoken truths. Despite the familiar terrain of familial conflicts and ideological divides, the cast navigates the script's reliance on monologues with aplomb.

The actors deliver compelling performances against the captivating set of an angular midcentury home dressed for Christmas in Palm Springs pastels created by Duane Peters, Steven Kalina and Danyle Verzinskie. Photos of Reagan hang on the wall, Academy Awards stand on the mantel and movie posters with the casts’ faces on them create a strong sense of suspended disbelief.

During scene changes, Glen Bittner’s lights glow beautifully with reflected orange sunlight. It’s one of the best sets I’ve seen locally.

“It's amazing the things you'll do to amuse yourself in the desert,” muses Lyman, encapsulating the characters' desperate search for solace amid the arid landscape of their lives. They sit locked in prisons of their own making, too comfortable to leave and too repressed to speak the truth without gallons of alcohol lubricating the way. In its exploration of themes such as addiction, depression and the elusive nature of truth, BLT’s production of “Other Desert Cities” unfolds into a thought-provoking experience punctuated by moments of raw emotion and profound introspection.

“Other Desert Cities” takes the stage at the Butler Little Theatre runs Friday through May 4. The play runs about 120 minutes with a 10-minute intermission. The show contains adult language and discussions of suicide.