Ryan Artzberger (left) and Jon Farris play a sportswriter and his old college professor who reunite in Indiana Repertory Theatre's production of "Tuesdays with Morrie."

Sociology may never be the toughest subject in a college catalog, and yet there's nothing easy about the issues that sportswriter Mitch Albom and his former sociology professor, Morrie Schwartz, delve into when they reunite after 16 years.

The now-famous conversations between the Detroit Free Press columnist and his beloved mentor, who is slowly dying of Lou Gehrig's disease, took shape in 1997 as the best-selling book "Tuesdays With Morrie" and later as a play by Albom and Jeffrey Hatcher.

The play, which opened off-Broadway in 2002, is now running on the Indiana Repertory Theatre's Upper Stage. While conceived on a small scale, with a single set and two characters, the play addresses large issues, such as love, work, aging, family, community, forgiveness and death.

As the backdrop for a series of 14 conversations that add up to the ambitious sportswriter's last lessons with his teacher, IRT scenic designer Nayna Ramey devised a drab study furnished with an old recliner that has seen better days, a couple of decrepit bookcases and a faded rug. Lighting designer Michael Klaers supplied dappled shadows and soft light.

IRT's production stars tall, lanky Ryan Artzberger as a fairly keyed up Mitch, and Jon Farris as the comparatively small, still-spunky Morrie. Both actors have recent IRT credits, Artzberger as Simon, the morose choirmaster in "Our Town," and Farris as a father coping with the onset of dementia in "Painting Churches."

In Artzberger and Farris, director Risa Brainin found players who have extensive Shakespeare credits, and who bring to the stage a wonderful emphasis on diction and the meaning behind words.

Even better, they deliver an emotional honesty especially relevant to this script. One of the storylines involves Morrie persuading Mitch to explore and act on his emotions. Artzberger's Mitch is able to grudgingly, yet convincingly make that leap.

As he does, the professor's quest leads to exchanges like this:

"You've got to hustle to make sure you stay on top," says Mitch, justifying his workaholic ways.

"But are you at peace with yourself?" asks Morrie.

Through the course of their conversations, Mitch gets married and takes a few days off. Morrie gets increasingly frail. The roles of parent and child reverse. The men become closer.

And along the way, there are plenty of thrusts and parries in a match with neither winners nor losers, only those who love the game of life.