BWW Reviews: HAND TO GOD is a Chilling Puppet Drama

March 11
12:08 AM 2014

A brief plot description of Robert Askins' Hand To God, where a shy, introverted Christian teenager's sock puppet seems to have been possessed by a hard-truth spewing demon, might lead you to believe you're in for a night of silly, perhaps a little campy, blasphemous fun.

BWW Reviews:  HAND TO GOD is a Chilling Puppet Drama
Steven Boyer and Geneva Carr
(Photo: Joan Marcus)

And sure, when we're first introduced to Tyrone, who lives on young Texan Jason's (Steven Boyer) left forearm, his profane nastiness, contrasting with his goofy appearance, sets us up for an entertaining Exorcist-style satire.

But that's the comforting beginning that lulls you in. Before you know it, it turns out that Askins' drama, as well as Jason's puppet, has some powerful teeth, and director Moritz von Stuelpnagel's serious-minded production will have the more squeamish playgoers averting their eyes at the bloody and desperate climax.

Jason's mom, Margery (Geneva Carr), who was recently widowed, leads a small church workshop preparing teens to put together a religiously-themed puppet show. Though she tries to keep a mature and respectable demeanor, her libido has been sent off-kilter by the lustful advances of cocky kid Timothy (Michael Oberholtzer) and her supervisor, Pastor Greg (Marc Kudisch, balancing sincerity and creepiness).

Though Jason has feelings for his smart, creative friend, Jessica (comically deadpan Sarah Stiles), he doesn't catch her attention until impressing her with a bit of "Who's On First?" But is Jason working alone, or is Tyron more of a partner?

BWW Reviews:  HAND TO GOD is a Chilling Puppet Drama
Sarah Stiles and Steven Boyer (Photo: Joan Marcus)

The answer becomes clear when the puppet commits a startling act of violence on Timothy, dragging the shocked Jason behind him. Boyer's performance, which earned him an Obie Award for the play's previous Off-Broadway production, is not only impressive for his ability to convey the illusion that Tyrone is a separate and uncontrollable entity, but the vocal and physical separation between his two characters is sharp, fast and exacting.

Though the scene where Jessica introduces Tyrone to her lusty female puppet and the two teens have a serious talk about their feeling while their cloth partners engage in multiple and pretty graphic sexual positions is quite memorable, Boyer's performance of Jason's final confrontation with the demon is a chilling, edge of your seat moment, provoking gasps instead of laughs.

It sure ain't Avenue Q

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