“Smart and sharply written text that speaks to men. ‘A Case for the Existence of God’ remains a beaut of a play. It’s a rare gift when a story like this might just be what brings men to the theatre.”

Before the above statement is misinterpreted as sexist-sounding, the intention is not to do that. ‘A Case for the Existence of God’ powerfully addresses men’s issues when children enter the picture. Playwright Samuel D. Hunter’s script pulses believably in how men speak, think, feel and react. It’s rare for a play to delve honestly into male relationships without them either sounding sappy or perhaps turning the characters gay.

Director Ted Dykstra was touched by ‘Case’s script when he first read it. What spoke to him about the play? In his Director’s Note, he writes that it’s a story about loyal, loving fathers, flawed or not, who put their kids first.

That’s why this opening-night production is a beaut of a play that I hope will bring men to the theatre.

The story is set in designer Nick Blais’s ultra-modern-looking and tidy office space of Keith (Mazin Elsadig), a highly conservative mortgage broker who takes his job seriously. Blais has interestingly designed his set on top of stone pillars, which become potent reminders of Keith’s persistence in always wanting to do the right thing.

Keith speaks to working-class guy Ryan (Noah Reid), a worker at the local yogurt plant looking to secure a loan to purchase land his great-grandparents once owned to rebuild the burned-down house.

What draws Ryan and Keith together?

They each want to be good fathers to their fifteen-month-old daughters. Keith works on finalizing the adoption plans for his foster daughter, Willa. Ryan remains down on his luck but wants to secure a bright future for his daughter, Krista. The two young children attend the same local daycare. Ryan seizes the opportunity to learn more about securing a loan when he learns what Keith does for a living.

The men’s lives are polar opposites even though they become fast friends in bonding over the first events and moments in their children’s lives. Ryan’s current marriage is on the rocks. He faces addictions while being a grown adult of divorced parents. Ryan hopes the desired land purchase can show he can offer stability for his child even as his relationship with his wife crumbles. Keith grows up in a wealthy family. He is a member of the LGBTQ+ community who wants to adopt his daughter on his own merits. He periodically speaks to an unseen social worker on the phone who assists in securing the adoption.

Costume Designer Des’ree Gray selects appropriate clothing that delineates the social status differences between the two men. Elsadig is smartly dressed in proverbial and preppy white-collar attire. Reid’s hard hat, boots, oversized coat, ripped pants, and torn white shirt strongly indicate that his work takes him outdoors most days.

Ted Dykstra directs confidently and steadily, ensuring that the emotional moments between Elsadig and Reid do not verge on hysterics, as men typically do not express themselves that way. When either of them has emotional outbursts, they pierce right to the heart and gut, making them ever so poignant in their juxtaposition with the plot events.

The actors do not move much at the beginning; however, when they do, there is an intent and reason why. Near the end of the play, when voices are raised and answers are sought, Elsadig and Reid remain passionate and dynamic performers who ultimately control their emotions. They give believably genuine performances as father figures who only want the best for their children’s futures. They also only want what’s best for each other as friends.

Final Thoughts: Although the smartly written and sharp two-hander does not directly reference God or any spiritual being, Hunter firmly establishes the tone of having faith in a higher power.

Sharing said specific plot elements would spoil how Ryan and Keith navigate their search in trying to understand something in a world that often seems to work against them. Ryan and Keith encounter heart-wrenching circumstances that did bring a tear to my eye, but the boys also provide moments of laughter amid the absurdity of their situation.

That’s faith right there as the two men try to navigate their search to understand the world. This realization makes this Catholic Christian smile and his heart leap for joy.

Running time: approximately 90 minutes with no interval/intermission.

‘A Case for the Existence of God’ runs until December 6 at the Coal Mine Theatre, 2076 Danforth Avenue, Toronto. For tickets: coalminetheatre.com.

COAL MINE THEATRE presents
‘A CASE FOR THE EXISTENCE OF GOD’ by Samuel D. Hunter

Directed by Ted Dykstra
Set and Lighting Designer: Nick Blais
Costume Designer: Des’ree Gray
Sound Designer/Composer: Aaron Jensen
Stage Manager: Robert Harding

Performers: Mazin Elsadig and Noah Reid.