Review: THE GOD GAME Provides Unrealistic Look at Religion and Politics at Mad Cow

Opening just three weeks before the presidential election, a play analyzing the confluence of religion and politics on a personal level should be a perfect theatrical opportunity. However, in light of this particular presidential contest, the handling of the issue feels simplistic and dated in THE GOD GAME, running at Orlando's Mad Cow Theatre through November 20th. This intimate, regional premiere from playwright Suzanne Bradbeer feels more like a thought exercise devoid of real world calculations than an honest introspection of a third rail in American politics.

Fortunately, Tony Simotes' tight direction and excellent three-person cast is able to raise the discourse to something compelling, despite the disjointed logic of the piece. In the play, political campaign manager Matt (T. Robert Pigott) visits his old friend, Tom (Brian Brightman), a respected senator from Virginia, whose career is on the rise.

An expert on energy security and climate change, Tom assumes that Matt is coming to ask his advice on how his presidential candidate, a Christian Conservative Republican governor, should approach these hot-button issues. However, Matt has a far more important question to ask.

That question puts Tom and his wife of 20 years, Lisa (Cynthia Beckert), in an uncomfortable position both personally and politically. Lisa is a devout Christian, but following an accident that killed his brother, Tom no longer considers himself a believer. The rest of the show bandies about the idea that this is unacceptable in a political candidate, especially a Republican.

While religion is still very much a part of our political culture (just look at the stump speeches for our vice presidential candidates) Bradbeer approaches the topic of an agnostic candidate in such a black-and-white manner that it strains credulity and robs the situation of its stakes. For three savvy political professionals, it is hard to believe that the debate that they would have would essentially be whether or not Tom's lack of faith would disqualify him from higher office or not.

The fact that there is next to no discussion of spin or messaging makes the entire two-act play feel like it is operating from a faulty premise. With all of the outlandish things that Americans have accepted in this political cycle, it seems unbelievable that none of the characters would talk about developing a media strategy to address the "problem" if it ever came to light. So, while the human conflict that the question creates is potent, it comes off as false, because the characters are ignoring the most basic of political answers.

With all of that being typed, THE GOD GAME succeeds on the nuanced performances of its cast. As Tom, Brightman brings an honesty and confidence that makes it clear why voters are drawn to him. He shows particular strength when Tom is taking principled stances, but is also able to flash a disarming, wry smile just as easily.

Pigott's performance centers on a subtle, but palpable, yearning that his character feels to atone for past mistakes. As we learn more about his character, it becomes increasingly clear that he is not only attempting to do the right thing professionally, but personally as well. The friendship between Matt and Tom feels incredibly real, and it is often easy to get swept up in their ambitious excitement.

Likewise, Tom and Lisa's marriage feels authentic and lived-in as well. For much of the play, Lisa plays an earnest foil to Matt and Tom's plans, and the fact that Beckert can hold her own, if not dominate, the uneven argument is a testament to the actress' talent. She is strong, funny, and, in the most personal of moments, immensely vulnerable as well.

While Bradbeer's approach to examining the battle over the separation of church and state feels unsophisticated at times, it does force you to think about your own feelings on the issue of religion in politics; and judging by the political situation that we find ourselves in currently, a little self-evaluation couldn't hurt.

In Mad Cow's Zehngebot-Stonerock black box theatre, scenic designer Alexander Whittenberg has created a charming home office set that thrusts into the audience, giving everyone an up-close opportunity to be a part of the trio's negotiations.

To get tickets to THE GOD GAME, visit the Mad Cow website or call 407-297-8788.

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Banner Credit: Brian Brightman, Cynthia Beckert, and T. Robert Pigott. Photo Credit: Phelan M. Ebenhack | Mad Cow Theatre

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