In her new solo play, Jen Tullock embodies 11 lives shattered by one memoir

By Matthew Wexler

“I’m always fascinated by that origin story, when an author first realized that a story isn’t born of nothing,” says a TV interviewer’s soothing voiceover in the early moments of Nothing Can Take You From the Hand of God. But this isn’t an Ali Hazelwood STEM-inspired romance novel. The central character, Frances Reinhardt, has written a searing memoir about growing up in an evangelical church. And when the book goes public, Northeast Missions Church and the author’s family face their own come-to-Jesus moments.

Jen Tullock (Severance, Perry Mason) stars in the solo show she co-wrote with Frank Winters, taking on 11 characters and several onstage video cameras (there are six in total) to craft a nuanced examination of organized religion, parenting, and sapphic love.

Jen Tullock in "Nothing Can Take You From the Hand of God." — Jen Tullock in “Nothing Can Take You From the Hand of God.” Photo by Maria Baranova.

Nothing Can Take You From the Hand of God is the third Off-Broadway play of the season to tackle the intersection of faith and LGBTQ+ visibility. While Sia’s new musical, Saturday Church, and Jordan E. Cooper’s Oh Happy Day! dial up the cathartic confrontation, Tullock opts for a more measured approach. Her range of characters, from Frances’ dry, self-deprecating humor to Pastor Jeremy’s sin-worthy accusation that her book is causing “intentional infliction of emotional distress,” lands with purposeful, physical specificity.

She doesn’t have much choice given the play’s creative construct. Under Jared Mezzocchi’s direction, with precise projection and video design by Stefania Bulbarella, some may be reminded of Sarah Snook’s Tony-winning performance in The Picture of Dorian Gray. They wouldn’t be wrong regarding the intersection of technology and live performance. But Tullock’s Frances, raised in a family where sickness was “a combat sport to be won and won publicly,” is wholly, painfully unique.

Questioned whether the physical and emotional abuse she suffered really happened by those she loved and trusted most, Frances must redefine her relationship with her Higher Power. Tullock proves her prowess as both playwright and actor. And just maybe, Nothing Can Take You From the Hand of God, will open the door for others who have suffered in the name of religion.