From the Desk of Jim R, Take 2, Column 112, A Review: "The God Game" (Square One Theatre Company)

By James V. Ruocco

Religion, politics, deceit, agnosticism and compromise are the centerpiece of Suzanne Bradbeer's "The God Game," a prescient, fascinating political drama that is timely, solid, urgent, well-spoken and marvelously conversational.

Written long before Donald Trump became the 45th President of the United States, this two-act character drama, nonetheless, is chock full of snarky cynicism, smart aleck sermonizing, dirty tricks, unsavory machinations and middle America power plays that feel as true today as when Bradbeer wrote "The God Game" five years ago. And therein, lies its enjoyment.

Commanding.
Outspoken.
Compassionate.
Personal.
Edgy.

"The God Game" is a brilliant expose that tackles many, many relevant topics.
It's all here: how political campaigns are shaped and conducted; the angling for endorsement; the impulse to pour God over everything regardless of one's personal beliefs; the face that politicians are forced to present to the world even if it means lying or stretching the truth; the prominence and monetary gain associated with politics; the behind-the-closed-doors conversations; the win at any cost candidate topicality.

At Square One Theatre Company, "The God Game's" marvelously orchestrated arrival couldn't be more timely or pertinent. The play itself not only proves its enduring, powerful appeal, but does so with impeccable pathos, acidity and page-turning brashness.

There are a lot of interesting, intellectual ideas at play here, all of which are ambitiously shaped, attacked and addressed by director Tom Holehan.  The script, of course, is carefully layered and developed by the playwright to only give so much in terms of character and set up during each act, thus, producing an element of surprise as the play unravels and evolves until all is revealed during the final moments of the piece. Holehan, in turn, piques interest at every turn, always knowing what buttons to push, when to take a breath, pause and continue, how to build and sustain tension, how to get a laugh and how to knock the audience on their ass when something they didn't expect is suddenly dropped into their laps in explicit, confrontational fashion.

In terms of pacing, Holehan never once misses a beat as characters come and go, scenes change, lights come up and down and "The God Game" taunts and teases, as well it should. From start to finish, there is an airy, fresh and centered look and feel to the piece. Nothing is taken for granted. Nothing is amped up. Nothing is overplayed. Nothing is stagy or calculated.

Holehan lets "The God Game" settle, breathe, cajole and entice most agreeably. Yes, the production is rehearsed. Yes, the actors have memorized their lines. Yes, there are stage cues, stage movement, stage business and stage blocking. Yes, there is a beginning, middle and end. Regardless, Holehan lets things unfold naturally, believably and honestly. He knows what he wants and he runs with it. He trusts his actors to deliver and deliver they do. The closeness of actor to audience also works most advantageously and gives "The God Game" its voyeuristic verve and intimacy.

In the role of Tom, a Virginia senator and rising star in the Republican Party arena, David Victor brings admirable voice, electric-charged energy and splendid, edgy drama to his portrayal of a man whose personal values, beliefs and integrity are thrust into the limelight, at all costs. Make no mistake about it, Victor is the real deal. He has the look, the manner, the mindset, the drive, the stamina, the wardrobe and the body language of someone who has spent a lifetime in Washington and knows exactly how to play the political game. He's so real and so honest, one wonders if Holehan actually traveled to the nation's capital and convinced Victor to give up his day job and become an actor in his production. That said, it's the performance of the season and one that smartly contributes to the greatness that is "The God Game."

Danielle Sultini, as Tom's wife Lisa, brilliantly captures the wifely angst, insecurity, determination, condescension and principled vacillation of her character as set forth by the playwright. She also exudes a traditional charm, class and shrewdness, offset by a believable, well-oiled outspokenness, which serves the material well. As Matt, the ex-lover of Tom's deceased brother Jay who died in a car accident shortly after the two of them broke up, Kiel Stango projects the cool confidence and calculated business savvy required of the part along with an invigorating sense of political spark, agenda and offbeat quirkiness. He works especially well opposite both Victor and Sultini and strikes exactly the right note between seriousness and playfulness. It's a memorable, focused performance that is played with plenty of heart, soul and compassion. And when things get especially heated, Stango's Matt is not only a force to be reckoned with, but one who says exactly what's on his mind regardless of the consequences.

"The God Game" is the first of  three plays to be performed during Square One Theatre Company's 2018-2019 theater season. Waiting in the wings are "Clever Little Lies" and Lungs." Smart, savvy and timely, "The God Game" addresses the political arena of America with revelation, tension, wit and emotion. Tom Holehan's insightful direction not only captures the dicey schematics of playwright Suzanne Bradbeer's vision, but invites everyone in the audience to confront and reexamine their own personal feelings about religion, family, compromise, God, homosexuality, politics, voting, the Presidency and so much more. Then again, that's the point, isn't it?

"The God Game" is being staged by Square One Theatre Company (Stratford Academy, 719 Birdseye St., Stratford, CT), now through November 18.

For tickets or more information, call (203) 375-8778.

website: www.squareonetheatre.com.