From the opening moments of this Kevin Kling play, it's obvious you're entering the realm of the absurd. The first clue is that the central character is an orphan boy who was raised by raccoons. And that revelation is just the tip of a strange iceberg. Directed by Susan Lee Johnson, the play seems overwritten and unnecessarily repetitive, but it occasionally delivers humor and deeper meaning. Those successful moments are due as much to two engaging performances as they are to the script, which with a weaker cast would end up out of gas long before the last lines.
Bob (Peter Ross Stephens), the boy raised by raccoons, is alone after his "mother" is hit by a car. He is caught in a steel trap by a doctor (Chairman Barnes), whose wife (Jennifer Norkin) convinces him they should raise the raccoon boy as their son. Later, Bob winds up with a new adopted dad: con man Lloyd (Carlos Larkin). Lloyd, pretending to be a preacher, uses Bob to get sympathetic people to give him money. But an angel (Norkin), sent by God, warns Lloyd to mend his ways or he will suffer the wrath of the Almighty. And through it all, Bob remains a raccoon boy, twitching, washing his hands as though they were paws, and staring blankly.
Kling's script, though at times pleasantly ridiculous, is loaded with at least a half hour of extemporaneous material that drags the momentum to a crawl. Fortunately the performances are strong. Though he has few lines, Stephens' raccoon-like movements and facial expressions are highly adept. His focus never wavers, and he manages to be funny and fascinating without becoming cartoonish. Larkin's portrayal of the lying, angry Lloyd is spirited. He fills the character with rage and ugliness while remaining likeable. Barnes and Norkin ably tackle several varied roles. And Johnson's direction is appropriately quick-paced and playful. Even with minimal sets and lighting, Lloyd's Prayer paints a detailed and unusual world. With some editing, this could be a memorable production. As it is now, it's just frustrating.