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Audience roars at Road Less Traveled’s HAND TO GOD with actor Urtz in a breakout role.

THE BASICS: HAND TO GOD, an irreverent 2015 Tony nominated comedy by Robert Askins, directed by John Hurley, starring Dan Urtz, Jenn Stafford, John Kreuzer, Henry Farleo and Maura Coseglia opened on March 5 and runs through March 29, Thursdays through Saturdays at 7:30 p.m., Sundays at 2. Road Less Traveled Theater, 456 Main Street (629-3069). www.roadlesstraveledproductions.org

Runtime: One Hour, 45 minutes with one intermission (full service bar, light snacks) Advisories: Dialogue, Language, Sexual Situations, Violence all in the service of comedy

THUMBNAIL SKETCH: To help recently widowed Margery overcome her grief, fundamentalist Pastor Greg suggests that she start a puppet club at their Cypress, Texas church so that the teenagers can put on Biblical stories. Her son Jason, who is also grieving for his father, makes a hand puppet called Tyrone who soon takes on a life of his own. Tyrone says things that are possibly better left unsaid, then takes on a devilish personality, attacking people and property. The publicity states “He’s lewd, profane, combative, and refuses to leave Jason’s arm.” As usual with RLTP productions, it’s a show with many levels and subtexts, from teenage sex drives, to questions of honesty, to coping with grief, to the role of religion, religious rituals, and the use of scapegoats. And, by God, honest to God, or, as they say down South (with a raised right palm) “hand to God,” it is hilarious, simultaneously one of the funniest plays I’ve ever seen with some of saddest, most touching moments ever.

L-R Dan Urtz as Jason, the puppet Tyrone, and John Kruezer as Pastor Greg

THE PLAYERS, THE PLAY, AND THE PRODUCTION: This play was delayed from last season and so as Artistic/Executive Director Scott Behrend told the audience on opening night “the actors have had 18 months to rehearse their lines.” And later my wife asked “do you think that some of the lines were improv?” I don’t think so, but everybody was so smooth (not always the case for an opening night on any stage in Buffalo) that, hand to God, it did seem as if each actor was completely speaking his or her own words. Where to begin?

Let’s start with Dan Urtz who is a regular at Theater of Youth where he is often cast in “outsider” roles such as Charlie Brown in A CHARLIE BROWN CHRISTMAS. In other words, even when he has the lead role, he plays a nebbish-y character mystified by regular life and the rules of the game. And he plays those characters well. As he writes in his program bio “I’m beyond grateful … to those who have always supported me in all my utterly chaotic weirdness.”

And nebbish-y is exactly what the character Jason is, an awkward teenage boy. If that’s all there was, it would have been a normal, solid Urtz performance. But then, there’s this whole other role, as Tyrone, the puppet Jason makes who comes alive on his left arm, and then there’s this whole other role on top of that, playing what Tyrone evolves (devolves?) into.

I admit I was not ready at all for this breakout performance by Urtz.

I admit I was not ready at all for this breakout performance by Urtz. Standing ovations are such a normal part of curtain applause that they don’t really mean what they used to. The standing O that Urtz received at the end was, trust me, hand to God, from the heart.

Dan Urtz as Jason with his mom Margery played by Jenn Stafford

Equally outstanding was Jenn Stafford whom many might remember from her role(s) in Second Generation Theatre’s TOXIC AVENGER as tough-as-nails Mayor Babs Belgoody, where she was also Melvin’s disappointed mother, Ma Ferd and, as I wrote in my review then: “in the highlight number just before intermission (“Bitch/Slut/Liar/Whore”) …The house exploded. A standing ovation at the conclusion of shows these days is the norm. When’s the last time you saw a standing ovation at the end of a first act?”

Well, Stafford is back. She plays a mother on the edge, keeping it together when she can, totally losing it when she can’t. In a play that asks questions about reality and honesty, Stafford’s Margery is as honest a presentation as you’re likely to get.

You can’t have a Five Buffalo review, though, unless all the elements are in place, and that includes the acting and puppetry of Maura Nolan Coseglia as teenage Jessica and her puppet, the buxom Jolene. No spoilers here, but the Act II “confrontation” of puppets Tyrone and Jolene is one that people will talk about for years to come. To paraphrase that old line about dancers Fred Astaire and Ginger Rogers, in that scene, Jolene has to do everything Tyrone does, only backwards and in high heels.

Let’s give major kudos to a Buffalo treasure, puppet maker Adam Kreutinger.

So let’s give major kudos to a Buffalo treasure, puppet maker Adam Kreutinger, whose creations have graced many local stages as well as appearing on TV and in movies. (And whose puppets won a 2018 Artie for TOY’s STELLA LUNA.) As explained in the (as always at RLTP very interesting) notes, these are “hand puppets” not in their own little proscenium stage, but in full view, with the head and mouth manipulated by the actor’s hand inside, and the two arms manipulated by attached slim metal rods occasionally held in the other hand.

Years on stage have prepared actor John Kreuzer to play Pastor Greg as a very “real” human getting by with an extra burden placed on him by virtue of his job, providing pastoral care in the most trying of situations. Henry Farleo, who actually does do improve over at Buff State’s FRIDAY NIGHT LIVE!, plays the third teenager, the more worldly Timmy, at times surly, then funny, then nasty, a teenage tsunami of emotions.

While a review might not normally name the entire production crew, this play is so fast-paced, so active, and so crazy that everyone has to bring his or her “A-Game” starting with Director John Hurley who was able to get entirely consistent performances from all his actors. That’s a challenge at any time, but this play is so crazy, that consistency is truly a virtue.

Sara Foote is Production Stage Manager assisted by Michaela Pascuzzi and with a chaotic set, cleverly designed by Dyan Burlingame, smooth management was critical. There were also complex sound (Katie Menke) and light (John Rickus) cues, lots and lots of props (Diane Almeter Jones), costumes (Jenna Damberger design and Brenna Prather wardrobe) and more physical action than usual (Adam Rath, Fight Direction) all TD’d by Lou Iannone and coordinated by Hasheen DeBerry. Whew! Nobody phoned in anything.

Without spoilers, I can tell you that this play is about grieving – is there a “right way” or a “wrong way” – and honesty – what is not enough and what is “too much” – and sex – what is not enough and what is “too much” – and the whole crazy mating dance between the sexes – and deeper questions – what is the role of religion and scapegoats and forgiveness. Yes, these are big topics, and with the exception of a few short “sermons” from the puppet Tyrone, this is not a play where characters get overly introspective. They act and they “act out.” Perhaps they should talk more. But then, after listening to Tyrone talk to the other characters… nah, maybe not.

Plan a few extra minutes for a photo-op with members of the cast (including the puppets) on the set. It’s fun.

UP NEXT: THE CURIOUS CASE OF THE WATSON INTELLIGENCE by Madeleine George billed as “a love triangle with four guys named Watson” as in Alexander Graham Bell’s colleague Thomas A. Watson, Sherlock Holmes colleague Dr. Watson, the IBM computer (seen on Jeopardy!) called “Watson” and a contemporary IT fix-it guy named Watson. It runs April 23 to May 17, 2020.

Note: this is not to be confused with THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME to be presented by “All For One” productions (a joint effort of five theaters which includes RLTP) at Shea’s 710 Theatre from March 12 through March 29th.

*HERD OF BUFFALO (Notes on the Rating System)

ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.

TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.

THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.

FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.

FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!

Written by Peter Hall

Peter Hall

Peter Hall continues trying to figure out how "it" all works. For 20 years, as program host on Classical 94.5 WNED and continuing on-stage with the Buffalo Chamber Music Society, he's conducted over 1,000 interviews with artists as he asks them to explain, in layman's terms, "what's the big picture here?"

As mentioned recently in Buffalo Spree magazine, Peter's "Buffalo Rising reviews are the no-holds barred 'everyman's' take." And, on “Theater Talk” (heard Friday mornings at 6:45 and 8:45 a.m. on WBFO 88.7 FM and Saturday afternoons at 5:55 p.m. on Classical 94.5 WNED) his favorite question of co-host Anthony Chase is simply "What's goin' on?"

A member of Buffalo's Artie Awards Committee, Peter holds a B.A. in Comparative Literature from Columbia University and an M.B.A. from SUNY at Buffalo. For over twenty-five years he has been an adjunct professor for Canisius College’s Richard J. Wehle School of Business.

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