Theater Review: "Hand to God," from Stage Door Productions

Dangerous people make dangerous puppets

By Dennis Wemm
THEATER CRITIC

Stage Door Productions has presented a very intense, unique experience to its Fredericksburg audience. The production of “Hand to God” is thoroughly labeled as being an adult experience. The play, by Robert Askins, is full of strong statements, both verbal, in its scene structure, in its style, and in its visual representations.

To start with the play itself: it is willfully and intensely offensive to just about everything that the conventions of American life hold dear. Our actors play characters who are—the only term I can think of—dangerous. They are dangerous to preconceptions, they are dangerous to each other, they are dangerous to ideals of individuality, they are dangerous to social norms, and they are dangerous to their society, their surroundings, and especially to each other. The grownups are playing kid games with all the gears stripped and the hand brakes failing.

We are, as people, wont to express ourselves through other vessels. We are fascinated with things that are made in imitation. Fascinated and horrified. Dolls, puppets, actors, photos, films, AI videos all show us an image of ourselves like a mirror. Role playing allows us to turn ourselves into our own movie and say things we couldn’t bring out any other way. A kid will use a doll or a puppet to explore a concept that is too big or complicated or scary to deal with outside of consequences, after all, it’s only a game.

Manfredi’s cast is fearless. They carry out the action with energy and conviction. The play’s themes are so challenging that nothing else would do.

“Hand to God,” as an audience experience, occupies a place where adults (and teens) are playing games that turn their games into reality. It’s a theme frequently explored in the horror genre. It occupies that space where “outrageously funny” turns into “what am I watching?!?” In production notes, the playwright has these instructions: “Scare your audience. Try to turn them on. Make them laugh. Make them cry. Make them scream. Go for the jugular.”

So they do. Audience reactions were not in any way simple. After all, there is minor bloodshed and sadistic violence in the play. There is partial nudity, and some simulated sex acts. Lots of laughter, lots of gasps. I saw people hiding their eyes behind their programs but then peeping over the program to see things better. Most of the play stays safely behind the fourth wall of the Allstate Theatre space, but sometimes the audience is involved as well. So, umm, don’t bring the kids, okay? Or anyone with a terror of puppets. Or an allergy to Silly String.

Margery is a recent widow who is trying to find her identity. She clearly is confused, lost in her life and limited in her ability to move on. Her only connection to community is her church, and she’s terribly bored. So, Pastor Greg puts her in charge of the teens’ group and gives them puppets, dolls, and inspirational posters-all very one-sided, of course. Echo Bartholomew has found her role in Margery and plays it fearlessly.

Pastor Greg is in charge of this ragtag congregation: Margery doesn’t stay unnoticed by the single pastor, and he uses his role as counselor to try to get her interested. He wants to have a relationship with her, but also to help her by controlling her. He wants to save her but has very little respect for who she is. He wants a mom, but she’s not sure she wants a man—or at least this man. Shawn Fanning’s performance reminded me eerily of a Hallmark Easter movie in which the same plot is played as a straightforward romantic comedy, motivations, mannerisms, and all.

Margery’s son Jason is a bright teen who is trying very hard to find his voice. He’s passionate but forced by his life to constrict his feelings. He finds an outlet for them using his puppet, Tyrone. At first Tyrone allows him to say things in his own voice, but as the play goes on, Tyrone takes on his own voice—which is clearly coming out of Jason’s mouth. Dawson Carneal’s performance is energetic and very precise. We know who is speaking at all times and Dawson’s handling of the simple hand puppet is really masterful. Is Tyrone the devil (as he claims) or is he just Jason’s teen frustrations personified? The play doesn’t share that answer, but given the epilogue we can’t assume any easy answer.

Jason’s “girl next door” is Jessica (Elizabeth Fanning). Their attraction and reticence is so true and sweet that you know if they survive the play’s events that their homecoming date would make for a play all its own. Her puppet, Jolene, doesn’t talk much, but when Tyrone and Jolene get together sparks fly.

Timothy (Matthew Wolski) is the last character. He’s the epitome of a troubled teen. No one can handle him easily. He sees through the simple manipulations from the other characters, has little use for a timid guy like Jason, and deliberately comes on to Margery. That proves to be a dangerous move for him because Margery is primed to go off at a moment’s notice. We see, by the end, the wounds that motivate his rage.

The stage is well set for the descent of the church basement into a den of wickedness and desecration. Religious symbols and messages are turned to blatant—and hilarious—evil. A lot of the sets have represented holy places in other shows this season, and they receive a very different treatment this time. Cathy Bergdahl’s production management and construction extends to include some effective scenic projections.

Lighting and sound were very effective and well timed. The use of a darkly bouncy musical score supported the bizarre goings-on well.

For the most part the staging violence (and violent intimacy work) is effective and believable. There was one moment that I found a little disturbing involving broken glass on the stage floor. I found myself not worrying about the characters but worrying about the actors. I knew that at some point someone would have to fall on the floor, and my personal stagecraft told me it would happen right in the space where the glass was.

The space on the upper floor of 810 Caroline Street is looking for funds to support audience spaces and technical resources (such as projections).

Dennis Wemm is a retired professor of theatre and communication, having taught and led both departments at Glenville State College for 34 years. In his off time he was president and sometimes Executive Director of the West Virginia Theatre Conference, secretary and president of the Southeastern Theatre Conference, and generally enjoyed a life in theatre.

Want to Go?

Catch the final three performances of “Hand to God” on Friday and Saturday night at 8 p.m. or Sunday at 3 p.m.

Tickets are $20-$30 and available here.

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