Reviewed
by James Karas
Hand to God is a raunchy, exuberant, satanic, irreverent,
hilarious and serious play now playing at Coal Mine Theatre. If you believe
that good things come in small theatres, Coal Mine Theatre raises the bar well
above that level.
Robert Askins’
play was first produced Off-Broadway in 2011 and made it to Broadway and London among numerous other venues.
The Southern
drawl and the setting of a church basement tell you that you are in the
American Bible Belt. It is supposed to be in Texas but I heard no allusion to
that effect. The sexually explicit language in a church tells you to brace
yourself for some very bawdy proceedings. Holy rollers may wish to give the
production a very wide berth.
Amy Keating, Francis Melling, Nicole Underhay and Ted Dykstra. Photo: Kristina Ruddick
Margery (an
outstanding Nicole Underhay) is attractive, deeply religious and a recent widow
because her husband ate himself to death. Her teenage son Jason (Frank
Cox-O’Connell) is shy but also slightly unhinged. The play opens with a puppet
sticking its head from the curtain and relating the story of humanity from
before society to the formation of social groups and the invention of the
devil.
We soon realize
that the puppet that Jason holds, Tyrone, is quite real (to him) and is the
Devil that controls Jason. This is a marvelous theatrical ploy as Jason’s dual
character dominates the play. Cox-O’Connell does the voice of Tyrone and his
own with great speed and effectiveness as he controls the movements of the
puppet which appears to control his mental and emotional states.
Timothy (Francis
Melling) is a foul-mouthed, hideous-looking kid from the neighbourhood whose
overactive hormones have no brakes. We also have Jessica (Amy Keating), the
girl next door and Pastor Greg (Ted Dykstra) who has sexual ambitions towards
Margery.
Remember we are
in a church basement and Margery is preparing a religious puppet show for the
Pastor and the congregation. And speaking of sexual attraction, make that
tension, the carnal currents flowing among the characters would bust normal
electrical cables. And I blush to tell you about violent sex, intra-human and
intra-puppet. Hint: Jessica also has a puppet and Tyrone likes her/it.
Underhay gives
an extraordinary performance as the holy roller who fights off the pastor’s
sexual advances but succumbs to Timothy’s brutal idea of coitus with equal
force. Margery is driven to hysterics more than once and Underhay handles the
role with assurance and ability.
Keating handles
the role of Jessica as well as her alter ego, the puppet. Like Cox-O’Connell
she must handle quick and convincing voice changes as well as the puppet.
Dykstra as the
pastor has more than hormonal issues. He has to attempt to appear rational in
an irrational world and must even attempt an exorcism
of the Devil from Jason. As usual, Dykstra gives an unfailingly fine
performance.
Marcus Jamin
handles Puppetry Direction and Design with superb results. Anahita Dehbonehie
shows what a set designer with intelligence and imagination can do in a tiny theatre
like Coal Mine. The church basement, the swings outside, the production of a car,
division of the stage in separate spaces are all handled with speed and are economical
and simply outstanding.
Director
Mitchell Cushman does masterly work in his execution of a highly demanding play
that requires impeccable timing, emotional roller coasters, violence and a
great deal of humour. He does not leave any aspect unattended and his sure hand
is visible in every move.
___________
Hand
to God by Richard
Askins opened on April 24 and will run until May 12, 2019
at the Coal Mine Theatre, 1454 Danforth Ave. Toronto, M4J 1N4. www.coalminetheatre.com
James Karas is the Senior Editor – Culture of The Greek Press. www.greekpress.ca
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