There’s a reason that Samuel D. Hunter is considered Mr. Idaho. 

His entire career has been devoted to mapping the lives of Idahoans, from the perspective of an escapee (more corporeally than mentally). 

But even within this unified project, his Signature Theatre Residency is starting to feel like a related stylistic pivot, connected experiments in both form and content that continue his dramatic preoccupations, but through two paralleled frames.

A Case for the Existence of God and the current Grangeville are fraternal two-handers, without gaps between scenes despite radical leaps in time and location, and they end with a coup de théâtre of set design that expands the previous confines of the established playing space. 

It’s kind of like how Lucas Hnath is in the midst of another example of an oeuvre dovetail, with his pair of one-person meta shows that heavily use recorded audio: Dana H. and A Simulacrum (and swaths of The Thin Place). 

And his wife Mona Pirnot’s I Love You So Much I Could Die — which he directed — could be considered a part of this marital mini-trend.