Hilarious heresy in The Pollard’s ‘An Act of God’
The Pollard Theatre in Guthrie kicks off its 32nd season with David Javerbaum’s popular and controversial comedy “An Act of God,” starring Brenda Williams.
Javerbaum is an awardwinning comedy writer known for his prolific work as a staff writer on “The Daily Show with Jon Stewart.” His first book, “The Last Testament: A Memoir by God,” was released in 2011 with “An Act of God” premiering in 2015. Both were formed from a series of tweets found at @thetweetofGod. Timothy Stewart directs. “An Act of God” is a oneact, and, essentially, a oneman show. God rewrites the Ten Commandments for contemporary worshipers, and provides explanations and commentary on Biblical passages for the audience. The play is reminiscent of a lengthy television revivalist infomercial, with questions supposedly taken from audience members. The set suggests a temporary studio for a televangelist. A “sales pitch” begins from the entity who created the universe.
The Pollard notes on its website: “We consider ‘An Act of God’ to be a production that requires discretion as it contains ADULT LANGUAGE and content that some audiences may consider offensive.”
Upon opening, Williams explains that her body is being used as the vehicle for God, and that she herself will awake with no knowledge of the events. Williams, as God, dominates the show with supporting roles from actors James A. Hughes, as Gabriel, and Dakota Muckelrath, as Michael. Gabriel acts as an administrative assistant and supports God with angelic humor. Michael pretends to collect queries from the audience for God, but interviews the patrons as a shield to ask his own questions.
One of the most important commandments, the play states, is that church and state should be separate. God states that he is not a politician and has no interest in political matters. Then God proceeds to engage in political commentary. Some audience members may find God’s hypocrisy offensive or tedious; others, amusing. Stewart does a marvelous job directing the actors. Technically, the show is perfect, and the action takes place on a heavenly set designed by Hughes.
In comedy, timing is essential. This cast of three has excellent control of each moment. Hughes creates the character of the Gabriel as simultaneously officious, bureaucratic and adorably cute. Muckelrath, as Michael, has earnest doubt and handsome bureaucratic ease. Together they provide wonderful support and chemistry for Williams. Their interchanges are fascinating as well as funny.
One of God’s greatest gifts is a sense of humor, and Williams has wonderful humor as God. She does not hesitate to allow him flaws, but does so with such empathy for humanity that her interpretation is believable, even when cruel. As a result, she leaves the audience in stitches. Williams’s amazing stage presence in her performance pays off in this show. She is brilliantly funny delivering irreverent hilarity.