By Jason and Alisha Hagey
Pioneer Theatre Company transforms its intimate Meldrum Theatre at the Einar Nielsen Field House into an office cubicle – fluorescent-lit purgatory with paper shuffles and perfunctory pamphlets – where A Case for the Existence of God unfolds into an unexpected duet of shared vulnerability. Two very different men come together, and what emerges is not a collision of white-collar pragmatism and blue-collar longing but a revelation: beneath professions and circumstance, a human striving remains the same in its fragile, persistent reach toward something more. Through their experience, the two become bonded brothers via a captivating and exquisite production.
Anticipating the show’s title, I went in with an expectation that this production would explore a theological nature. It shifts that narrative and moves into a lens of experiencing the importance of connection in what often can be a cruel world. It is a play about empathy – a play about men. Samuel D. Hunter’s (Playwright) expert hand transcends the transactional exchange of loans, numbers, and economic pragmatism. Hunter’s world is one of parenthood, looming with subdued anxiety. His skillful storytelling causes fissures to rupture with that distress. Inadequacy and worry consume men; expectation and uncertainty accompany every choice. The comedy slices through the façade that frequently conceals these fears that lie behind the delicate self-image of men.
There is beauty in stillness. The confines of the cubicle are made infinite under Timothy Douglas’s (Director) leadership. Time passes, months even, and with just the tiniest of changes (the position of a chair shifts, for instance), the audience is swept into the narrative, never wondering where or when we are. It is dance, without steps, so deftly choreographed that it makes the time pass without realizing the clock has moved on. Douglas harnesses the gorgeous writing and helps his actors flourish.
Jon Hudson Odom (Keith) and Lee Osorio (Ryan) are giants. Never saccharine, never feeling self-aggrandizing; these two are epic. Words do not do justice to these two actors and their enormous presence, their immense portrayal of the most human, down-to-earth, and fascinatingly real people. Vulnerability is a word thrown about with reckless abandon in today’s vernacular. Still, the raw, committed performances of Odom and Osorio are such that vulnerability does not measure up to the powerful, intense, unforgettable impact they have on stage. They are not dramatic, hyperreal, or earth-shattering. Instead, Odom and Osorio are powerfully understated and world-changing in their subtle, nuanced theatrical achievements.
The show’s design feels so in concert with one another that it is rather remarkable that only one brilliant creative mind didn’t helm it. The elements are so interconnected that it’s hard to differentiate one from another.
Lex Liang (Scenic & Costume Designer) wears two hats that marry so beautifully. Everything is thoughtfully presented, from the line in Keith’s sports coat to the cubicle rug pattern. Only small pieces shift, and those elegant details become everything.
The slight hum of the fluorescent lights in the office, the delightful sounds of a child’s playground, and the gentle murmur of television are all understated, unassuming, and completely enthralling – all orchestrated by Matt Mitchell (Sound Designer). Nothing was over the top – just an occasional reminder of the here and now.
Subtlety is the connecting thread of the entire production. Yael Lubetzky (Lighting Designer) creates what had to be the daunting task of moving the story forward without ever saying, ‘Look, the sun moved!’ There is warmth and depth in the lighting. There is a bare sensitivity to profoundly unguarded moments, even in the lighting design.
Pioneer Theatre Company offers more than a play. A Case for the Existence of God is not merely a title but an invitation to witness the divine in the ordinary and the extraordinary in the everyday. With gentle power and enduring empathetic strength, this production lingers with its unspoken bonds tying us together. A Case for the Existence of God is one of the season’s best productions.
Run Time
140 minutes with no intermission
Content Advisory
Contains strong adult language and some alcohol use. Recommended for ages 13 and up.
Pioneer Theatre Company presents A Case for the Existence of God by Samuel D. Hunter
PTC’s Meldrum Theatre at the Einar Nielsen Field House
375 South 1400 East, Salt Lake City
March 28 – April 12, 2025
Monday – Thursday, 7:00 PM
Friday and Saturday, 7:30 PM
Saturday, 2:00 PM
Tickets:
$44 – $57 in advance; $5 more when purchased on day of show
Students K – 12 or ages 5-18 are half-price Monday – Thursday
Curtain Call for All (“pay what you can”) performance: Monday, March 31 at 7:00 PM
ASL-Interpreted performance: Monday, April 7 at 7:00 PM
A select number of $43 tickets are available for every performance with code PTC63
Box Office: 801-581-6961
Open 10:00 AM – 6:00 PM, Monday – Friday
PTC Show Listing: A Case for the Existence of God
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Discounts available for University of Utah students, staff, and faculty. Visit PioneerTheatre.org/UniversityofUtah for more details.
A Case for the Existence of God is made possible through the generosity of the Marriner S. Eccles Foundation, the Lawrence T. and Janet T. Dee Foundation, and the S.J. Quinney College of Law at the University of Utah.
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