←Recommendations of A DIVINE COMEDY

When one approaches retirement it is quite natural to be struck by a sense of nostalgia, to think of your legacy and what you leave behind. Will your remembrances be fond ones, or will they be tinged with regrets. In this virtuoso comedic two-hander Steven G Martin imagines a God ready to walk away from His creation and explore new avenues of experience. One must only hope that he leaves his watch in the hands of one of his better angels.

I admire a play that starts as a prompt and ends in something as grand as trying to dramatize the unknowable mind of God. The interplay between God and the Angel is thoughtful and honest, as is the emotional core of the piece. A lovely piece of work, and a truly impressive extrapolation of “Feeling restless without a clear desire.” Never underestimate where a playwright's mind might go.

"Awesome Like Crinkle Cut Fries" is a delightfully inventive and touching comedy that imagines God not as a distant judge, but as a weary creator wrestling with purpose, change, and the burden of endless responsibility. Steven G. Martin balances sharp wit, philosophical reflection, and genuine warmth, creating a play that is both thought-provoking and deeply human in its vision of the divine. The result is funny, intelligent, and quietly uplifting.

With a disenchanted God setting off on an open-ended walkabout, and a bureaucratic Angel left holding the bag, this subversive comedy poses the question: Who’s really in charge here? When the exercise of power becomes a self-imposed prison and the valuation of human life is a variable, we’re cut adrift. Then again, if everything’s up for grabs, that can also be awesome.

From the beginning – when God admits he made a mistake (infallibility is something we gave him, apparently) – I was hooked. As the song asks, "What if God was one of us?" Well, he'd need a break too. A great examination of the burden of power and why so many seek to have it and cling to it. Mixing the profound with the (slightly) practical, this is the type of play I try to write every time. A great play with lots of possibilities for stage magic.

The use of language in this play is absolutely gorgeous, with a poetic, symmetrical sensibility you can feel in your body. It's a gorgeous, metatheatrical little exploration of change, quietly but insistently asking big questions about scale, expectations, and more. When must we complete a pattern for the sake of competition, and when is it better to walk away? Just as the definition of "awesome" has changed over the epochs, so can we, and what we believe in - and it starts at the top! Gorgeous!