What can you possibly say about a play that contains a boy raised by raccoons, an Angel of the Lord in the body of a high school beauty queen, an ex-con turned televangelist, a plague of bugs and fire and pestilence, a man in a carp suit and half-a-day? Welcome to the wonderful world of Kevin Kling and Lloyd’s Prayer. Kling is a true original —as playwright, actor, storyteller and performance artist—and Lloyd's Prayer is a perfect introduction to the highly theatrical, wonderfully skewed vision ofthe world that infuses all of his work.

Bob — a.k.a. The Beast Boy — was raised by raccoons, but is slowly realizing that he must leave the animal kingdom behind and join the world of humans. It's a tough transition, though, for someone taught to wash his food before dinner and whose communication skills are limited to, well, chattering like a raccoon. Caught in a steel trap, Bob is adopted by a suburban couple who recognize him as one of their own, but who keep him locked in a cage, unsure whether to treat him as a son or a pet.

Lloyd has been locked in a cage of a different sort —jail. A con man with a golden tongue, Lloyd is an outsider, a man who has lost his faith in God — but not the almighty dollar. When he discovers Bob, he sees the potential of the ”little fur-bearing gold mine" and hits the religion circuit, gathering donations to “save little Bobby from the devil." Although Lloyd begins to care for the boy, he doesn't see the problem in exploiting one of God’s creatures to make a fast buck.

But God does. He dispatches an Angel — who just happens to borrow the body of a local beauty queen -to stop Lloyd from taking advantage of his young charge and start giving him the guidance and affection he needs. Only by recognizing his genuine need for others, and his ability to care for someone other than himself, can "Lloyd’s prayer" be answered.