Hannah Taylor and Drew Sharpe. Photo by Mike Kozemchak.
Given this incredibly challenging artistic and national moment, it is so good to see that DC theatres aren’t afraid to embrace material that may be considered on the more controversial side or not “family-friendly” enough. FYI, this play is not family-friendly. It is a searing and incredibly irreverent look at religiosity, the concept of “god” vis-à-vis good versus evil, and the inability of people to authentically relate to one another without the intervention of a hand puppet gone rogue.
…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.
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. Jason (Drew Sharpe) has just lost his father because of a heart attack. He and his mother Margery (Shadia A. Hafiz) are coping—barely. Each has retreated into their own warped denial stage—Margery by focusing on teaching a puppetry class at the local Lutheran church and Jason by fanatically bonding with the puppet he created as a result of that class. Tyrone, the hand puppet, not only becomes a sounding board for a troubled Jason but ultimately takes on a life of its own. Believed to be possessed by the devil, Tyrone stirs up hell for poor Jason.
The other students in the class, Jessica (Hannah Taylor) and Timmy (Jordan Brown), become complicit in the very bizarre goings-on as Jason’s puppet comes to manipulate the strings. Rounding out the cast of characters is Pastor Greg (Dominque Gray), whose weirdly creepy infatuation with Margery feeds into the whole “religion doesn’t always equate to good” vibe. 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.
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, 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 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.
Running Time: One hour and 45 minutes with one intermission.
Advisory: Intended for adult audiences and includes mature content. Includes coarse language, sexual content, depictions of abuse, and violence, including depictions of self harm.
“Hand to God” runs through March 2, 2025 at Keegan Theatre, 1742 Church St NW, Washington, DC 20036, Thursdays-Saturdays at 8:00 pm and Sundays at 3:00 pm (also a few Mondays and Wednesdays at 8:00 pm). For more information and to purchase tickets, call the Box Office at 202-265-3767, or in person on the day of the show one hour prior to the performance, or go online.
