"True West" is an explosive comedy with superb performances and production levels that combine to be audience-shaking.

The set for the Allentown Public Theatre production in the "Spotlight On The Valley" series on stage through March 1 at Touchstone Theatre, Bethlehem, is as detailed as the language in the now-classic Sam Shepard play, first staged in 1980, as well as the meticulous direction by James Peck and the ruminative acting by Jason Roth (Austin) and Joshua Neth (Lee).

All the same, with a gradual buildup, by the conclusion of the two-act play, two-hour play (including intermission), the stage, the actors and the play are toast. In fact, the comforting aroma of toast hangs over the theater as the actors take their bows.

The comfort of toast is only matched by the discomfort that the play engenders. That's because "True West" is a myth-buster. Playwright Shepard juxtaposes the myth of the Hollywood dream machine with that of the reality of those who labor to run it or ride it.

Austin, played with quiet determination by Roth, is a screenwriter whose next screenplay is eagerly awaiting by his agent, Saul (a very convincing Bill Joachim).

Lee, portrayed with fierce determination by Neth, is a petty thief who badgers his brother Austin not only into submission, but into a role reversal.

Lee devises an idea that gets Saul's attention over and above what Austin is working on. Austin resorts to a challenge bet, hence, the 10 or so purloined toasters, and the toasty aroma.

All of this takes place in the kitchen of the California desert home of Austin's and Lee's mother (a resolute Kathy Patterson), which they are house-sitting.

The set design by Christopher Shorr, Moravian College theater program director, and Jp Jordan, Touchstone Theatre artistic director, has a working sink (the faucet is turned on at one point and water flows from it), wooden cabinets, dishwasher, an oven, a microwave, a refrigerator (also apparently functioning), tile floor, carpet and those toasters, which are plugged in simultaneously without short-circuiting anything on opening night.

The kitchen window looks out onto video projections of sky and sunsets designed by Jeremy Brandt. There's a kitchen table, on which sets the object of creativity, an IBM Selectric typewriter. Stacey B. Yoder, of Pines Dinner Theatre, Allentown did the props and costumes.

The lighting design by Emma Chong, Touchstone Theatre Ensemble, adds to the realism.

Scene breaks are enhanced by enthralling music by Kristian Derek Ball of Lehigh University, composer- sound designer.

Austin and Lee mix it up pretty good. Fortunately, they worked with fight choreographer Michael G. Chin.

The dialogue is carefully constructed ("true-to-life stuff," "There's no such thing as the West. It's dried up.," "true to life") with keen observations about the American scene and the nature of creativity.

The creative spark is unpredictable. In "True West," it's toast. One doesn't have to be a professional writer to flame it. That's true in the west and everywhere.