"Bald Sisters," in its world premiere at Steppenwolf Theatre, tells of a Cambodian refugee who escaped the unspeakable terror of the Kmer Rouge with her daughter, and made a new life and birthed a second daughter in the U.S. But the play only touches that in passing, instead focusing on universal themes as it portrays very realistically the generational divides that affect us all.

With incredible performances across the board, Bald Sisters is must-see theater. But the biggest star just may be the script by Vichet Chum, a rising playwright gaining national renown. Bald Sisters was created under a new play development initiative by Steppenwolf Theater Company, which reliably discovers and delivers work by promising playwrights with fully realized productions, this one directed admirably by Jesca Prudencio.

Chum’s characters, who represent familiar Boomer, GenX, Millennial types, are fully dimensional, their speech realistic, fresh, and completely on key for the range of ages and personalities. He gives the actors convincing language to work with, and they deliver it powerfully.

We have the mother, Ma (Wai Ching Ho), a naughty sprite who has put all the bad memories behind her, living in the moment, and readily speaking her mind. Ma prefaces her most pointed remarks with, “I probably shouldn’t say this, but I’m going to,” eliciting laughs, while cueing the audience for the zinger to follow.

Ma generally directs the barbs at her eldest daughter, Him (Jennifer Lim), whom we deduce escaped with her from Cambodia. Him and Sophea (Francesa Fernandez McKenzie), Ma’s younger daughter, are planning mom’s funeral - a plot device that brings a clash between the daughters. Him has a darker view of the world, while her younger sibling Sophea - born in the U.S. - has traveled an easier path. Sophea was spared the trauma of Him’s past as a refugee, but she longs to be anchored in her culture, seeking her roots by meditation and styling herself as an eastern zen. Him, on the other hand, has assimilated into U.S. culture, marrying a white Christian minister.

The end-of-life hook is a convenient device for the siblings to confront unfinished business. The younger sister Sophea is living an extended adolescence, and is very judgmental about her older sister Him’s life and values. Him sees her sibling as an infantile bag of pretension and Buddhist wanna-be.Him, though seriously ill, lives a dutiful life, supporting Ma in her decline, and her husband Nate in his church career.

Jennifer Lim gives a most noteworthy performance, on opening night delivering one of those incredible Steppenwolf-style monologues, filled with fury and passion, so affecting that the audience burst into applause. Francesa Fernandez McKenzie, as Sophea, conveyed in her physical performance as much or more about this pouty, self-immersed girl-woman as the playwright’s fresh, dead-on millennial lines.

Also notable were Coburn Goss as Him’s husband Nate, and particularly Nima Rakhshanifar as Seth, a college student who mows lawns, and whose Middle Eastern and Muslim heritage showed the author is at home writing any type of character. Seth sings a Muslim song of mourning that transcending language, was viscerally moving. A shout out to Andrew Boyce for scenic design, and to Polly Hubbard, dramaturg, a role that serves as eyes and ears so theater companies stay abreast of trending talent and scripts like this one.

Highly recommended, Bald Sisters runs through January 15, 2023 in Steppenwolf’s new 400-set in-the-round Ensemble Theater.