Review: NCTC’s empathetic, stunning ‘A Case for the Existence of God’ is a must-see

With New Conservatory Theatre Center’s “A Case for the Existence of God,” theatergoers won’t know, until the short, 90-minute long, two-hander ends, what the title means—or, more accurately, what it means to them. It’s not about religion, though. 

And although it is staged at San Francisco’s prominent gay theater, it is also not about being gay per se, though one of the characters is indeed gay, and it affects various aspects of his life. 

The play, by Samuel D. Hunter (who also wrote “The Whale” (which became a 2022 movie), is on its simplest level about two troubled men who happen to connect, and whose effect on each other is deeply touching. 

Beautifully directed by Will Detlefsen and flawlessly performed, with an appropriately unobtrusive set, lighting and sound design, this little drama is a must-see. 

Keith (Tarig Elsiddig) and Ryan (Simon Winheld) recently met by chance; both have daughters going to the same day care center. When Keith mentioned that he’s a mortgage broker, Ryan was all ears. Though Ryan has a low-level job and no money to speak of, he has his heart set on buying a nearby, 12-acre piece of land here in his—and Keith’s — hometown, in Idaho. He plans to build a house on the land so his daughter will always have a place to call home. Ryan, in the midst of a divorce, is a part-time dad. 

When they met at the day care center, Ryan didn’t quite understand that Keith is a broker, not a lender. Uneducated and naive, Ryan arrives at Keith’s office hoping Keith can help him secure a bank loan. 

The play begins with a long, freighted silence as a confused Ryan leafs through incomprehensible pages of legalese Keith has given him to peruse. Keith waits, politely impatient. 

The play is full of believably awkward silences. It’s a gift when a director knows exactly how much time to give to total silence—and when actors know how to express potent emotions like rage and grief without overacting. It’s also a gift when directors so carefully cast the exact right actors for the roles, as Detlefsen has. 

Over the course of a number of meetings in Keith’s office (the scenes move smoothly, instantly, one to another), the men reveal themselves to each other at just the right pace: slowly, uneasily. 

A significant past connection between them is revealed. 

That Keith is gay, and Black, and Ryan is not, is important, but handled by Hunter, and the actors, with the greatest care. 

Both become increasingly desperate about how to secure a bank loan for Ryan. When Ryan wonders if he should just go to the bank and throw himself on the banker’s mercy, Keith patiently explains, “The bank doesn’t care about you as a person… It’s just numbers to them.” 

Indeed. 

Along the way, both have significant, emotionally charged phone conversations with others. “I think we share a specific kind of sadness, you and me,” says Ryan at one point. 

When they realize that they are both in danger of losing their beloved daughters (Ryan’s wife is threatening to sue for complete custody; Keith is in a tenuous foster-to-adopt situation), it’s inevitable, and believable, that they will connect on a deep level. Both are lonely, desperate, and full of rage. 

The actors have the ability to internalize those emotions to such a degree that you can almost feel your heart reaching out to them—and to the empathetic playwright. 

You’ll never guess the ending, and it’s stunning. You’ll see. 

 New Conservatory Theater Center’s “A Case for the Existence of God” continues through Nov. 15 at 25 Van Ness Ave., San Francisco; tickets are $25 to $80 at nctcsf.org.