‘The Handless King’ @ Amphibian Stage
Photos by Evan Michael Woods
—Rickey Wax
Two hours of flying limbs and poetry? What more can you ask for on a Friday night? Filled with twists and turns at every corner, Amphibian Stage’s world premiere of The Handless King by playwright Harley Elias transports audiences to 728 BCE Mesopotamia, weaving a darkly comedic tapestry in a spellbinding tale inspired by a relief carving during a history lecture. The play centers on two eunuch scribes—one seasoned and one youthful— as they navigate the turbulent transition from Cuneiform (writing on clay tablets) to Aramaic (writing on leather or parchment). Elias’ script uses this historical shift as a lens to explore deeper themes of writing, oppression, disability, and the birth of poetry.
Ubru (Patrick Bynane), a veteran scribe for the king, is counting limbs (severed limbs) and documenting recent events on the battlefield. He is interrupted by the younger Dilgan (Parker Gray), who introduces himself as another scribe and a fan of Ubru’s work. Things quickly sour when Dilgan advises Ubru that his precious Cuneiform is a thing of the past.
Ubru, who spent 12 years studying Cuneiform and is one of the king’s elite scribes, must now make room for the new, hip, better version of writing—Aramaic. “I’m too old to learn something new” pretty much sums up Ubru’s raging emotions. But Dilgan has even more news to deliver, something that will turn Ubru’s world upside down—and lead to a battle royal of limb dueling, rock throwing, and yes…murder.
Who will make it out alive?
With impeccable physicality and timing, both actors shine in delivering the comedic elements of the play, elevating its dark humor to giddy heights. (The handless rock-throwing scene was my absolute favorite.) Bynane’s deliberate movements and expressive facial expressions are masterfully subtle. His ability to hold a pause just long enough to maximize the humor of a situation showcases his skill in comedic timing. And whether it’s a wry raise of an eyebrow or a sardonic smirk when he discovers Dilgan’s deepest darkest secret (knowledge that serves him well later in the show), his gestures add layers of meaning to his lines, and draw easy, natural laughter from the audience. By contrast, Gray uses his energetic and animated physicality to great comedic effect. His quick, frenetic movements play beautifully with Bynane’s measured demeanor, creating a dynamic visual humor. His exaggerated and playful antics keep the audience on their toes.
Ahmad Kamal plays The Administrator who serves as a gatekeeper between the scribes and their king. He pulls the puppet strings that keep them hopping—yet stays grounded amid the absurdity. Kamal utilizes his wonderful voice to deliver lively and infectious humor throughout the show.
The scenic design by Leah Mazur perfectly complements the story with a simple, playful, and almost childlike aesthetic that resembles finger painting. It evokes the ancient world without overwhelming the audience. The set is minimalist yet effective, with basic props adding a touch of whimsy—limbs, stones, clay tablets. It’s brilliant choice by director Jay Duffer: simplicity allows the characters and their dialogues to take center stage, focusing attention on the intricate interplay between the two scribes. A standout of the production is the use of projections (Evan Michael Woods) to showcase ancient examples of both Cuneiform and Aramaic writing. It’s a clever touch that educates the audience as well.
The Handless King beautifully illustrates the reciprocal relationship between generations: the older generation learns new things from the younger—while they in turn benefit from the pioneering foundations laid by their predecessors. Ubru’s journey shows us that though wisdom and experience are invaluable, so is the ability to adapt to changing times. Conversely, Dilgan’s character demonstrates that youthful innovation and enthusiasm must be tempered with respect for the knowledge and contributions of the older generation. Together, both can be used as tools to dismantle systems of oppression and create a better future for generations to come.
Ultimately, The Handless King is a celebration of the written word’s enduring power. It reminds audiences that writing--an everyday part of our world and lives—isn’t merely a technical skill but a profound act of cultural and intellectual significance. It’s revolutionary. And if that’s not enough to move you, I guarantee the rock-throwing scene will make you almost fall out of your chair.
WHEN: July 26-August 18, 2024
WHERE: 120 S Main St, Fort Worth, TX 76104
WEB: amphibianstage.com
