It’s not a spoiler to say that by the end of Red Stitch’s arresting new staging of Samuel D. Hunter’s A Case for the Existence of God, there is a pamphlet for a mortgage broker floating in pitch black water onstage. It’s the perfect symbol for the play, which often finds near-divine (though never explicitly religious) meaning in the everyday, seemingly banal things that make a life.

We begin the show in the middle of what is perhaps the most banal thing: a meeting with a mortgage broker. The recently divorced, blue-collar Ryan (Darcy Kent) is trying to secure a loan for a 12-acre piece of land that once belonged to his family on the outskirts of the small town of Twin Falls, Idaho.

The land is not for him, really, but for his 15-month old daughter; an attempt to give her the life he believes she deserves. It’s this dedication to parenting that he shares with his broker, the ever-cheerful foster-care parent Keith (Kevin Hofbauer), and which brings the unlikely pair together over the course of the 75-minute two-hander.