Entering Seymour Centre’s Reginald Theatre for the opening night of A Case for the Existence of God, we are greeted by heavy smoke and sounds of organs. The atmosphere created seems fitting of the play’s title, though not specifically of its content as we would soon learn.
A Case for the Existence of God opens to a sparse set; a simple office ‘room’ completely enclosed on all sides. It is here that the audience is introduced to Keith (Elijah Williams) and Ryan (Anthony Gooley). The differences between them unfold quickly. Ryan is a blue collar, recently divorced straight white man who has sought out Keith, a well-educated gay black man and mortgage broker, to help him sort out a loan to buy back a piece of his family’s previously owned land. While the more apparent differences lead to several uncomfortable moments initially — Ryan does not understand all the convoluted financial terminology; Keith’s descriptions do not clarify Ryan’s confusion — the two men do share some common ground. Both are single fathers to their daughters, and both fear that their daughters will be taken away from them — though this is perhaps manifested more strongly in Keith, who is fostering to adopt.
Throughout the play, it often seems as though writer Samuel D. Hunter (The Whale) is attempting to make some profound statement about the interconnectedness of the human experience(s). A Case for the Existence of God shines when it pushes and pulls at the boundaries of male friendship, fatherhood and masculinity, but often falls short when it attempts to speak on the frictions that arise in the two men’s friendship due to class, sexuality and race. While Ryan is quite well developed as a character — the audience is consistently made aware of what his motivations and life trajectories are — there seems to be a lack of the same considerations for Keith. There are no inherent nuances in Keith’s relationship with his queerness and blackness growing up in a small town; there are no references to his family outside of his father; there is no background given as to why Keith decided to stay in said small town, nor his want to be a single father and raise his daughter in a town that he doesn’t even seem to like very much.
Of course, it does need to be kept in mind that not all aspects of a character can be fleshed out fully in a 90 minute run time. However, given that the play is a two-hander and that Ryan’s character is quite substantially fleshed out, the lack of the same for Keith does put the storytelling out of balance at points.
In saying that, Gooley and Williams have to be commended for their performances. Both actors bring a vulnerability and fragility to their respective roles which allows them to hit all the right emotional beats in the crucial moments. With only two characters, there is not much room to hide in the play. There was an evident chemistry and respect between Gooley and Williams that carried onto their portrayals of Ryan and Keith.
Craig Baldwin further accentuates the duo’s dynamic through his direction and sound design, with producer and costume designer Jeremy Waters’ understated and simple costuming choices visually highlighting the many differences between the two men. Veronique Benett’s set and lighting was a specific standout of the show, adding to the nature of the duo’s relationship as time progressed.
Coming back to the play’s title, ‘God’ doesn’t really get much of a say here. Rather, we are presented with the troubles of going through systems which dehumanise and separate us. There is a call to resist here, to gain comfort from the connections we are able to make, as well as a suggestion that the choices we make are the true revelation of some divine power.
A Case for the Existence of God plays at the Seymour Centre until May 4. Tickets can be found here.
