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(For a hot second you may, like me, squint at the bare-bones narrative for allegory: Ryan is Old Testament, Keith is New? It’s a dead end.)Ī Case for the Existence of God Emilio MadridĪs he showed earlier this season with quite a different work, the sprawling, multi-pronged family epic A Prayer for the French Republic, director David Cromer is the master of focus and paring scenes down to their essential pith and conflict. The pressure on both is so great, a simple gesture of kindness, an offered hug, is all it takes for rage to explode. Keith sees the generational poverty and history of mental illness stacked against Ryan. Ryan’s resentment of Keith’s privileged background is tempered by a dawning appreciation how, as a gay foster dad, he has no rights. With the patience of a novelist, Hunter acquaints us with their individual pasts and nudges them slowly into each other’s lives.
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He drops a surprise on us a third of the way through, as we learn the guys have a history leading back to high school. If anything, the better educated Keith (he double-majored in Early Music and English) creates minor road bumps using words like “harrowing” and “tacitly,” to Ryan’s momentary confusion.Īs any talented playwright would, Hunter parcels out character data with strategic care. Keith is Black and gay as well, facts which create a little friction between him and Ryan, nothing serious. But laws in Idaho allow relatives of the child to file for custody, so Keith lives in terror that his beloved baby girl will be taken from him.
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Keith is also trying to plant a stake in the future: He’s the doting but fretful foster parent of one Willa, daughter of a meth addict, and has pinned his happiness on full adoption. One wonders why Ryan would want to reclaim such haunted land, but the recently divorced dad with shaky finances is grasping for roots, a place to call home. Ryan has his eye on twelve acres that his great-grandfather owned nearly a century ago, a site where the mentally disturbed ancestor burned down the house. It takes Keith a little time to explain the difference between a lender and a broker: Keith serves as a middleman between Ryan and the bank (like a priest to a penitent). Hearing that Keith is a mortgage broker, Ryan booked a meeting. Ryan met Keith as both were picking up their toddlers at daycare. The chintzy partition and desk arrangement will phase into other locales without so much as a shifted fern or stapler on Arnulfo Maldonado’s corporate-island-in-a-desert set Tyler Micoleau’s masterful lights get a workout in establishing space and time.
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Ryan (Will Brill) and Keith (Kyle Beltran) are crammed, prisoner-like, in Keith’s cubicle at a mortgage-broker company in Twin Falls, Idaho.