Hand to God

7/7/16 – 10/9/16


In a church basement in a small Texas town, the teens of Christian puppetry Ministry gather to bring the Word to the Flock.  But one puppet takes on a foul-mouthed, demonic life of its own—unleashing the community’s barely repressed lust and rage. Like nothing you've seen before, this blasphemous Broadway hit is a ruthless comedy about sex, sinners, and sock puppets.

Play Name

Show Information

Runtime: 1 hour and 45 minutes with one intermission.

Hand to God is generously underwritten
by Virginia A. McArthur and E.C. Michael Higgins.


The Artists


Production Team


Daniel Conway

Daniel Conway has designed more than two dozen plays for Studio Theatre including Three Sisters and No Sisters, The Aliens, and his Helen Hayes Award-winning design for Hand to God. His recent work on Macbeth for Chicago Shakespeare Theater and The Scottsboro Boys for Signature Theatre was featured in the 2019 Prague Quadrennial of World Stage Design and Performance Art. He is currently designing Singin’ in the Rain for Olney Theatre Center. Other regional credits include work for Arena Stage, Signature Theatre, Ford’s Theatre, Woolly Mammoth, Cincinnati Playhouse in the Park, The Cleveland Play House, Shakespeare Theatre Company, South Coast Rep, Milwaukee Rep, A.R.T., The Kennedy Center, and Boston Lyric Opera.  Daniel is the designer for the performance artists/magicians Penn and Teller. Awards include 14 Helen Hayes nominations and four awards for Outstanding Set Design, nominations for the Los Angeles and Boston Critics Awards, and The Anderson-Hopkins Award for Sustained Contributions to Theatre in Washington, DC.

(As of August 2019)


Keith Parham

Keith Parham returns to Studio Theatre, where he previously designed Hand to God and The Father. He designed Therese Raquin on Broadway for Roundabout Theatre Company. His Off Broadway credits include Man From Nebraska at Second Stage; The Purple Lights of Joppa Illinois and Between Riverside and Crazy at Atlantic Theater Company; The Model Apartment at Primary Stages; Tribes, Mistakes Were Made, and Red Light Winter at Barrow Street Theatre; Stop the Virgens with Karen O at St. Ann's Warehouse and Sydney Opera House; Ivanov and Three Sisters at CSC; A Minister's Wife at Lincoln Center Theatre; and Adding Machine: A Musical at Minetta Lane. Recent regional credits include Father Comes Home from the Wars, The Wolves, and Uncle Vanya at the Goodman Theatre; Wild Goose Dreams at La Jolla Playhouse; Carousel at Arena Stage; and The Edge of Our Bodies, Gentle, Music Hall, and The Anyway Cabaret at TUTA Theatre.  International work includes Homebody/Kabul at National Theatre of Belgrade in Serbia. He is the recipient of an Obie Award and a Lucille Lortel Award.

(As of March 2018)


Matthew M. Nielson

Matthew M. Nielson recently designed and composed original music for Occupied Territories at 59E59 and Where Words Once Were at Lincoln Center. Other recent designs include the world premiere of Astoria, Parts I and II with Portland Center Stage; The Magic Play at Olney Theatre Center, Portland Center Stage, and Actor’s Theatre of Louisville; The Book of Will at Round House Theatre; Nina Simone: Four Women at Arena Stage; Shakespeare In Love at Baltimore Center Stage; and Treasure Island at Cincinnati Playhouse in the Park. Film and television credits include The Magicians, Stranger Things, Those Who Wait, NBC Sports, UFC on FOX, The Hero Effect, Epic Drive-In, The Discovery Channel, National Geographic, and Delivery.com. Mr. Nielson has received several Helen Hayes and film festival awards.

(As of April 2018)


Chelsea M. Warren

Chelsea M. Warren is a theatre artist with a focus on scenic design, puppetry, and devised theatre, newly based in the Twin Cities. Puppet design credits include Hand to God at Studio Theatre, WaterTower Theatre, and Jungle Theater; Shrek the Musical and The Little Mermaid at Chicago Shakespeare Theater. Scenic design credits include Kate Hamill’s Little Women and Hand to God at Jungle Theater, A Doll’s House and Kate Hamill’s Pride & Prejudice at WaterTower Theatre, Cocked and The Whale at Victory Gardens Theatre, and fml: how Carson McCullers saved my life at Steppenwolf Theatre. Warren received her MFA from Northwestern University and is an Assistant Professor of Scenic Design at the University of Minnesota.

(As of November 2018)


Robb Hunter

Robb Hunter has directed violence for more than 20 Studio productions including Vietgone, The Effect, Hand to God, Bad Jews, Belleville, The Motherfucker with the Hat, Reasons to be Pretty, Invisible Man, Superior Donuts, American Buffalo, Red Speedo (Helen Hayes nomination for choreography) and The Walworth Farce (Helen Hayes nomination). He also directs movement/violence for the Shakespeare Theatre Company, Arena Stage, Woolly Mammoth (where he received a Helen Hayes Award for HIR and nomination for An Octoroon), Signature Theatre, and many others. He is a member of SDC, AEA, SAG/AFTRA, and is a Certified Fight Director for the Society of American Fight Directors. He is on faculty at The Shakespeare Theatre’s Academy for Classical Acting, is the Choreographer in Residence at American University and is a teaching artist for the Studio Theatre Acting Conservatory.

(As of February 2019) 


Zach Campion

Zach Campion is a freelance voice, speech and dialect coach originally from San Antonio, TX. Recent credits at Studio include coaching dialect for P.Y.G. or the Mis-Edumacation of Dorian Belle, Kings, The Remains, Vietgone, Hand to God, and Terminus. Other DC credits include the world premiere of Kleptocracy, Indecent, Sovereignty, The Price, and Smart People at Arena Stage; The Wiz at Ford’s Theatre; Matilda, Tiger Style, Oil, Labour of Love, The Invisible Hand, Aubergine, Annie, My Fair Lady, Sweeney Todd, and Angels in America (Parts 1 & 2) at Olney Theatre Center; and the world premiere of The Gulf and Heisenberg at Signature Theatre. Zach is a certified teacher of Fitzmaurice Voicework ® and is a member of the Studio Acting Conservatory faculty. He holds MFA in Theatre Pedagogy from Virginia Commonwealth University and a BFA in Performance and Production from Texas State University.

(As of August 2019)


Hope Villanueva

Hope Villanueva recently made her New York debut as Production Stage Manager of Off Broadway’s Who’s Your Baghdaddy? or How I Started the Iraq War (New York Times Critics’ Pick and Off-Broadway Alliance nominee for Best New Musical) and followed it with Once Upon A Pastime at WPPAC. DC credits include Production Stage Manager on The Gospel of Lovingkindness (Mosaic Theatre Company), A House of Glass (Arena Stage), Lights Rise on Grace (Woolly Mammoth workshop), and Awake and Sing (Olney Theatre Center), The Big Meal (Studio Theatre), and the National Tours of Rock of Ages, My Fair Lady, and Young Frankenstein. She was Resident Stage Manager for Honolulu Theatre for Youth and Associate Production Manager on Ringling Bros and Barnum & Bailey’s Bellobration.

(As of July 2016)


Keri Schultz

Keri Schultz returns to Studio for Three Sisters after stage managing Hand to God, The Pillowman, and Red Light Winter, and serving as Assistant Stage Manager for Take Me Out. Recent local stage management credits include Hunting and Gathering, Circle Mirror Transformation, and Venus In Fur at Rep Stage, and Bad Dog, The Price, and Avenue Q at Olney Theatre. Ms. Schultz has also stage managed at theatres including Mosaic Theatre, Imagination Stage, Kennedy Center Theatre for Young Audiences, and Round House Theatre. Additionally, she has been an assistant stage manager at theatres including Arena Stage, Folger Theatre, and Center Stage. Regionally, she has worked with Trinity Rep, the Chester Theatre Company, and the Contemporary American Theatre Festival, and spent three summers as the prop master for the National Playwrights Conference at the Eugene O'Neill Theatre Center.

(As of March 2017)


A maliciously delicious black comedy
The Washington Post
It’s loud and lewd and irreverent and howlingly funny
Washington City Paper
This show is completely immersive and will leave you insanely entertained.
DC Theatre Scene

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