Jeezus! is an original musical directed by Laura Killeen, written and performed by Sergio Antonio, and featuring Guido Garcia Lueches alongside him. The play follows a young queer boy, played by Antonio, as he navigates the complexities of his identity and upbringing in a conservative Catholic setting. It delves into themes of faith, identity, and the societal pressures faced by the LGBTQ+ community within religious structures.
Through scenes set against the backdrop of Catholic rituals and biblical chapters, the musical humorously explores how growing up in a faith-driven household affects one’s understanding of self and sexuality. The show highlights the conflict between a person’s spirituality and their struggle for acceptance, both from their community and within themselves, when they identify as queer.
While Jeezus! is laugh-out-loud funny and over-the-top in its satire, it also offers a meaningful exploration of how deeply intertwined religion and personal identity can be. Antonio’s take on Christianity, framed through a queer lens, sheds light on the oppressive forces of shame and guilt often wielded by religious institutions, while also recognizing the love and spirituality that many derive from faith.
As expected from a parody that touches on taboo subjects, the show doesn’t shy away from bold, adult humour. There are risqué jokes, allusions to bodily fluids, and even the provocative idea of a sexual encounter with Jesus. It’s a raunchy, irreverent ride, not one for the faint-hearted—or one you’d want to watch with your mum.
That said, while the synopsis promised hymns and bodily fluids, the latter never quite made it to the stage. The humour was outrageous, but it felt like it could have pushed boundaries even further. Partial nudity and more outrageous moments might have given the play an extra layer of daring absurdity, truly embracing the wild premise of a “queer love story with Jesus.”
Overall, Jeezus! is a chaotic, wacky, and heartfelt musical with plenty of laughs. Despite leaving me wanting more in terms of shock value, the show provides a refreshing take on how faith and identity can co-exist—even in the most unexpected ways. Perhaps part two will give us the next chapter in this outlandish, thought-provoking saga.
Reviewer: Zain Russell
Reviewed: 9th October 2024
North West End UK Rating:
In the near future, love is just another commodity driven by an app called Q-pid.…
Behold, a young lady pursuing education, clamouring for the right to graduate, wanting to perform…
On Wednesday night, Scottish Opera brought Benjamin Britten’s Albert Herring to the Festival Theatre in…
There’s nothing tragic about the mirth and magic of Opera North’s wonderful production, a second…
A new musical inspired by the nationwide societal impacts of Section 28, After the Act…
The classic saying always favours the book over the film of story but when a…