Robert Askins’ “Hand to God” had its Broadway debut in 2015 and picked up several Tony nominations including Best Play. Part satire and part laugh-out-loud look at some deeply entrenched Bible Belt mentalities, the play takes puppets where puppets really haven’t gone before, making even “Avenue Q” seem relatively tame. … Profanity to excess, scandalous relationships, and a healthy dose of puppet sex comprise the behind-the-scenes reality of a classroom otherwise marked by ‘Jesus Love Me’ signs, colorful children’s toys, and crosses galore. Matthew J. Keenan’s obnoxiously child-friendly set design sharply plays against the show’s often darker themes and content. It is a brilliant scenic design coup that helps this play accomplish what the playwright likely intended.
Drew Sharpe’s portrayal of Jason perennially attached to a diabolic Tyrone is near seamless. It does become easy to suspend belief and get lost in the idea that Tyrone is an entity unto himself. The metamorphosis of the puppet is absolutely genius. Puppet designer Luke Hartwood deserves major props for his various iterations of Tyrone, demonstrating how impish evolves into evil.
As Margery, Shadia Hafiz nails the beleaguered mom who desperately needs an outlet for her own grief and rage that transcends mere “mom-ness.” From seriously misguided temptress to a woman broken by a life she never expected to live, Hafiz’s portrayal is profoundly multilayered. Another standout performance is that of Jordan Brown’s Timmy. Brown masterfully leans into the naïve bully routine and, in this production, it works.
Sound by Brandon Cook and light design by Sage Green are tasked with invoking some pretty heavy metaphysical moments, and both quite skillfully pull off the descent into darkness motif. Transcending even the limits of dark comedy, this play is both fun and deeply twisted—in a good way. Keegan continues to show that they are not afraid to push the boundaries and let theatre be theatre.
