Hand to God (Everyman Theatre) - Review

 

TYRONE:
'When I have put myself ahead of the group. When I have acted badly, in order that I may stay around the campfire, all I have to do is say... The Devil made me do it.'

 

Pictured, from left to right: Tyrone (Michael Cooper) and Jason (Michael Cooper).

Credit: Janelle McMenamin and Michael Moore.

 

There is no other non-religious gathering that will have you murmuring the name of "Jesus Christ" under your breath more than a production of the play that is Hand to God. One of the most explicit comedies I've ever had the pleasure of seeing, it is a supernatural comedy that discusses the concept of honesty amongst the backdrop of religious southern regionalism. 

 

You can already start to see where the fun begins. 

 

This play saw a spectacular run in 2022 by Everyman Theatre, who have dusted off old Tyrone and thrown him back into the spotlights of the ACT Hub this December. As a fan of the original, I am happy to report that Everyman have resurrected a spectacular show in glorious fashion.   

 

Director Jarrad West has his finger on the pulse of comedic pacing in this show. With such audacious humour being the main attraction, a firm directing hand is required to ensure performers make the most of the opportunities provided and don't overdo it, lest the effect of the comedy become stale and repetitive. Luckily, West is well-suited to the job and actively ensures that every scene is given a distinct energy by its cast, resulting in a show that is deceptively diverse in just how many different ways in can make you laugh. It is also a comedy that is continuously unravelling as the interactions between the characters become further and further unhinged, and West secures this crescendo of insanity perfectly. 

 

The cast is also well-suited to the show at hand, offering distinct characterisations that ensured fun was had by all. The only returning cast member is Michael Cooper, in an absolutely perfect performance as both Jason and his puppet frenemy, Tyrone. The play is riddled with humorous occurrences of dialogue with the self, and serve as a strong platform from which Cooper's vocally distinctive performances emerge, as they commonly pitted against one another. Cooper also displays a tremendous physical ability, showcased profoundly well in a scene in which he must do battle with the puppet on his arm. Cooper gives his all as two distinct characters, and he captures both with finesse; they both share the title of comedic performance of the year. 

 Pictured, from left to right: Tyrone and Jason (Michael Cooper), Jessica (Meaghan Stewart) and Margery (Amy Kowalczuk).

Credit: Janelle McMenamin and Michael Moore.

 

Cooper is supported by a gaggle of loveable freaks that are each offered incredible characterisation by this cast. Amy Kowalczuk as the emotionally apoplectic Margery is wickedly funny in her reactions to the idiots she must constantly fend off, while also stealing her own laughs in her moments of bizarre psychosis. She also offers a performance that is physically dexterous, switching from delicate widow to stark-raving lustful in the same breath. Lachlan Ruffy's father Greg, with his constantly revolving-door wardrobe of interesting socks, is the perfectly lame Pastor Greg, offering a performance that is as humorous as it is subversive, sprinkled with moments of genuine warmth that balanced out some of the more insane moments of the show.

 

Meaghan Stewart gives a quietly funny performance as Jessica, playing the introverted southern girl with wondrous charm. It would not be a Meaghan Stewart performance without an opportunity given to steal the show, however, and the emergence of her "valley girl" accent when donning a buxom puppet named "Jolene", offering a duel performance that went toe-to-toe with Cooper, and cementing the scene as the highlight of the show. William "Wally" Allington offers perhaps the most unsettling performance as resident creep Timmy, showing impressive physical ability in his antics in scenes shared with Kowalczsuk, while also offering a vitriolic character that is thoroughly unlikable, yet strangely endearing in a pathetic manner. 

 

Every other element of the show assists in creating an atmosphere of utter insanity, with dynamic lighting by Nathan Sciberras that emphasised the presence of Tyrone and his power over the show. Sound designer Nikki Fitzgerald backs up the technical side with chaotic cataclysm-like soundscapes, especially in those aforementioned moments of Tyrone's influence. Fitzgerald has also ensured the show is given a soundtrack that offers further irony to the overall tone. Emma Sissons' puppet designs are very impressive additions to the production; clearly crafted with great care, they are the main highlight of the show from a production design standpoint. West's set design is well suited to enduring the physicality of the actors throughout, while also containing many destructive elements that the actors are free to utilise in making as fun a mess as possible by the end. Finally, the costumes are well matched to the character's personalities and give them each a distinctive look, highlighting their individual characterisation further.

 

It should be no surprise that a show that was already phenomenal is still phenomenal so many years later. Hand To God is one of the greatest comedies to come out of the ACT Hub. If you missed it the first time around, you ought not to miss out on round two. You'll have to forgive my language but, as Tyrone says by play's end:

 

"Laugh, motherfuckers. That shit's funny."

 

Tickets: https://acthub.littleboxoffice.com/events/94526