“No Man’s Land” is vintage Harold Pinter: enigmatic, intriguing, remarkable word play, and loaded with laughs. Steppenwolf has given it a definitive production, set in the soaring library of Hirst, a British aristocrat litterateur who has picked up Spooner, an aging poet, at a pub earlier.

Descending into a scotch-soaked verbal tryst, the two launch into windy, pretentious fulminations on everything under the sun as they joust over the course of the two acts. At first, Spooner is in the ascendancy, and eventually Hirst.

It has been more than 45 years since “No Man's Land” was first produced, and here at Steppenwolf, we have a chance to see two of Steppenwolf’s finest in the prime of their acting capabilities: Jeff Perry as Hirst and Mark Ulrich as Spooner. Under the impeccable direction of Les Waters—his rendering of Sarah Ruhl’s “In the Next Room (or the vibrator play”) was exceptional—this is a definitive production.

Though critics have puzzled over Harold Pinter’s 1974 “No Man's Land” for decades, you do not need to understand the late British playwright’s intent to enjoy it. The audience was roiled with laughter throughout the first act, while the second, darker act is gripping as we watch for resolution that comes, but leaves us perhaps in the same predicament as the characters.

Two younger men, Foster (Samuel Roukin) and Briggs ((John Hudson Odom), self-described as amanuenses of Hirst, assist Hirst in the shifting power balance by intimidating and reining in Spooner. Then they join the party, drinking along with the older men. Hirst has all the cards: the money, the status, and these two aides to assist in his ultimate domination of Spooner.

In fact, this absurdist work offers no conclusions, just intimations of the existential inertia two late middleaged men feel as they cling to an idyllic sybaritic past while beginning to look at the void that lies ahead when they meet their end. Until then, they distract themselves as best they can with pretentions and word games.

I’ll venture this take on the meaning: Pinter has abstracted the dynamic of male competitiveness and posturing. The dialog, so complex that I am in awe at the actors’ mastery of the roles, expresses how two men establish who’s on top, who’s the alpha. We see this in sales meetings, in board rooms, in sports bars, and in “No Man's Land” in the library. That Pinter has captured this essence, the one-upmanship, the referential stature building, and the behavior change when the alpha emerges victorious - this is the art of the play.

Andrew Boyce earns plaudits for the monumental vision of a book-filled room: twelve rows of bound volumes line the walls from floor to ceiling, with spot-on wall paper and moulding, a cavernous space that focuses the action front and center. Sound design (Mikhail Fiksel) punctuates key moments shockingly yet appropriate to the script.

Highly recommended, “No Man’s Land” runs through August 20 in Steppenwolf’s Downstairs Theater.