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Oh My God! A Comedy of Biblical Proportions

19/10/202617/10/2026 Mark Hobgood⭐

Oh My God! A Comedy of Biblical Proportions Rating

★★★★★

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In the beginning… there was darkness. And behold… God popped out from behind the scenery and said, ‘Let there be light!’ And lo. The stage lights did come up and we were treated to Popular Playhouse’s ‘Oh My God! A Comedy of Biblical Proportions.’

The earth did shake, rattle and roll, Lucifer did shimmy in the Garden of Eden, Sarah did do a pregnancy test on the toilet, a plague of rubber toads did descend upon Pharaoh, and, as it was foretold, the audience were thoroughly entertained, while the occasional Boeing 747 flew overhead.

‘Oh My God! A Comedy of Biblical Proportions’ is the prequel to Popular Playhouse’s riotous hit ‘Christ Almighty.’ If you were lucky enough to bear witness to their romp through the life and death and life again of Jesus, then you know what the Bible’s Old Testament is in for.

No stone tablet is left un-overturned in their pursuit of laughs and the jokes come quickly and without warning, not unlike The Great Flood.

James Hartley commands the stage (and the Universe) as God, channelling Charlton Heston and Heston Blumenthal with a pinch of Sir Lawrence Olivier in Clash of the Titans.

His on again / off again partner for the evening (and eternity), is Lucifer, played with devilish relish by the remarkable Joseph Rotondella.

Sparks fly whenever these two are on stage together. It’s a beautiful thing. God may be wrathful, petty and frankly murderous at times, Lucifer is diabolical, cunning and spiteful, but ultimately, they’re two soft hearts struggling with the complexities of love.

Jesus makes a recurring guest appearance in the form of Oscar Wills, a humble chippy and sandal-clad stoner who helps hammer together a highlights reel from across the Old Testament.

We meet Eve and Adam, Emma Flynn and Max Dÿkstra, facing endless days playing rock and stick. Sarah and Abraham, Natasha Cheng and Oscar Baird, praying for a child and rapidly repenting when Isaac is delivered unto them in form of Roslyn Hicks.

Noah and Mrs Noah, Jamie Sturgess and Erin Pacholke, are joined on their Ark by a fabulous menagerie of animals (and a bird) including a panda and a delicious looking koala.

Rounding out the cast is the mountainous Daniel Moxham as Goliath. Most of the cast take on multiple roles and all throw themselves into the play headfirst.

There’s a noble tradition of popping religions’ self-important bubbles with comedy. Monty Python’s ‘The Life of Brian’ was banned outright in Ireland, Norway and parts of the UK when it was first released in 1979. Critics accused the movie of blasphemy and sacrilege.

‘Oh My God! A Comedy of Biblical Proportions’ owes something to the fabulous Mel Brooks and his irreverent hits ‘History of the World, Part I’ and the ingeniously titled ‘History of the World, Part II.’

Especial manna must be bestowed on Tommy James Green as Writer, Director and Producer. The Pythons and Mel Brooks are most excellent company to keep.

If you’re worried that you might be offended… you probably will be, so you should buy two tickets and take a friend so you can be offended in company.

‘Oh My God! A Comedy of Biblical Proportions’ is now on at Flight Path Theatre, running from 15 to 31 October.

You can follow Popular Playhouse at:
https://www.instagram.com/popularplayhouse

Tickets are now available at: https://www.flightpaththeatre.org/whats-on/oh-my-god-another-comedy-of-biblical-proportions

To book tickets to Oh My God! A Comedy of Biblical Proportions, please visit https://www.flightpaththeatre.org/whats-on/oh-my-god-another-comedy-of-biblical-proportions.

Photography: Othniel Mani/TreeOak Media

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Ordinary Days

07/05/202607/05/2026 Kirsty Dale🥉

Ordinary Days Rating

★★★★★

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Ordinary Days, produced by Bold & Blunt Creative and performed at Flight Path Theatre, takes us on a journey to New York in the early 2000s. An off-Broadway success, the sung-through musical follows the stories of four characters working through the challenges of everyday life. The story touches on art, taking chances, dreaming big, building relationships and recovering after trauma. There is nothing too complex in the plot but there is joy to be found in interrogating smaller moments not usually portrayed on stage.

There were two main storylines; one was romantic and the other was about friendship, I loved this. It is beautiful to see a platonic relationship platformed and I found that Warren (played by Ethan Bourke) and Deb (played by Producer Chantal Elyse) had a lot of chemistry. The other two characters were a couple grappling with the difficulties that come with moving in together and taking the next steps – Claire (played by Associate Producer Jordan Berry) and Jason (played by Lachlan Ceravolo).

I was lucky enough to see the opening night show and he performances from the four cast members were very earnest. As the show went on, I felt the cast become more confident, and the characters more vulnerable. Bourke was a highlight for me; he was very charismatic and made the audience want to get to know him. Ceravolo gave us a very convincing, though at times, one-sided love story. Both Elyse and Berry had wonderful voices. I especially loved the duets, group numbers and the songs where the passion and frustration of the characters peeked through – this felt distinctly human!

The pianist was a highlight, tucked in the corner of the stage, playing for the full 90 minutes – no intermission. I enjoyed the music a lot and was surprised with how immersive the singing was with only the piano. Songs seamlessly connected as scenes changed, and at times I forgot that we had live accompaniment. Congratulations to the Musical Director – Joseph O’Reilly.

The set was simple but effective with the New York skyline created out of posters and flyers, and just a couple of desks. Both lighting and sound were used well to signpost the mood changes, which was essential with the pared back set design. The cast used the space masterfully, popping out from within the audience and the theatre door which aided the audience to feel engaged and part of the story. There were laughs at the funny quips and audible gasps when Warren tripped, we felt invested in Deb finding her thesis and Claire having a personal breakthrough.

Overall, this was a very wholesome production from a team who has clearly worked extremely hard. There are a lot of lyrics in this musical, it’s impressive. For fans of RENT or Amélie who love whimsy, it’s worth a watch.

To book tickets to Ordinary Days, please visit https://www.flightpaththeatre.org/whats-on/ordinary-days.

Photographer: Andrea Magpulong,Philip Le Masurier Photography

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Sex, Drugs & Country Music: God’s Cowboy

10/02/2026 Lola Kate Carlton🥉

God’s Cowboy Rating

★★★★★

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If the Sydney theatre scene’s obsession last year was clowns, this year it seems to be cowboys. But God’s Cowboy isn’t really about the wild west. Instead, this intimate, explosive play takes us much closer to home.

Peter (Nathaniel Savy) has been a performer for his entire life, particularly fond of movie musicals and old cowboy films. When he books a part in a show with his sister (Sophia Laurantus as Penny) he quickly finds his cowboy dreams are starting to come true in an entirely new way. Daniel, a very broken and very suave outlaw type has rolled into town to do the show, and although tormented by his sadistic ex boyfriend Demetrius, Peter and Daniel begin to attempt to explore what healing could look like with each other.

This play at its core is about unstable relationships. Queerness can often be trivialised, oversexualised or infantilised, never allowed to be as messy or complicated as heterosexual relationships are. In that respect, the play is refreshingly blunt about what trauma does to your relationships. The design of the show reflects this: black and red costuming, and staging never quite in bright, warm light.

The cast puts in honourable performances across the board. Max Fernandez is a charismatic performer, and although became demonstrative at points, shined in the more uncomfortable tragic parts of the show. Nathaniel Savy brought genuine queer humour into the text, and when he leaned into the absurdism of the world around him, he was a joy to watch. Sophia Laurantus is very likeable on stage, and had the strongest emotional range on stage, although her stage time was tragically short. Tate Wilkinson Alexander shone as the screwed up sleazebag, and although has a habit of leaning into a monotone delivery, when required, was often a scene stealer – especially in moments of stunt work or massive emotional delivery.

The weakest link in this show is unfortunately the text. Although Ella Morris (director) and her cast have put in clear effort across the board to create something interesting, the text dips into cliche often, and is unclear – especially through the first act. The strongest points were when the script fully leaned into how ridiculous it wanted to be, aided by the hopped up performances of the cast, and overall the second act was significantly stronger. Morris’s effective direction has clearly worked hard to soften some of the script’s weaker points, but it has required the cast to in many ways keep the show up by themselves.

God’s Cowboy is an interesting look into the darker side of queer relationships – an optimistic take on the idea that someone doesn’t have to be in your life forever for them to matter. In many ways, this is particularly important as scrutiny on the queer community comes to an all time high in decades, showing the world that even though perhaps not all queer relationships are perfect, they are as human and as important as everyone else’s.

To book tickets to God’s Cowboy, please visit https://www.flightpaththeatre.org/whats-on/gods-cowboy.

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A Bold and Breathtaking Culmination of Art Forms

27/09/2025 Chantal Harrison Writer🥈🎭😂

BiPolar Express Rating

★★★★★

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As a community theatre director, I often stress the importance of teamwork and that no player reaches their best without the shared journey and uplifting of every member of the cast, often to eye rolls. However, Bipolar Express is a gleaming example of a powerful ensemble who are the backbone and heart of the story. It’s only now as I sit down to write this, having just read the program, that I ascertained how many creatives were among this ensemble cast including choreographer, Avalon Ormiston, and producer, Phaedra Brown, which doesn’t surprise me considering what a stellar example of full-bodied togetherness that this piece is.

Anton played by writer, Bianca Yeung, is on a train to meet an estranged friend when she has a manic episode. The train is depicted with a simple yet vibrant set consisting of three double floodlights, and cane chairs with the iconic Sydney Transit blue squiggly velvet seats. Anton is desperately trying to remain upright as she sends voice-notes to friend, Mish, not knowing if Mish will be meeting her at the other end.

The ensemble weave and move around her, engaging in conversations that begin as small talk and progress into more interesting musings. Anton has a bouquet of orange flowers that become more disheveled as she unravels. They are the motif that anchors the passage of time. The set is changed with rhythm and poetry by the actors throughout the show.

The story moves between the present train delay and the past story of Mish and Anton. We discover that Mish was the keeper of Anton’s secrets, she was the one with the directives for what to do and when, and she was often the keeper of this part of Anton. We see the complications of these assigned roles between the two, and how it impacts their friendship over time.

To describe and adequately give voice and understanding to a complex mental health diagnosis such as Bipolar would be incredibly difficult in words, that is where the powerful art of movement and dance breathtakingly fill in some of those gaps. For example; the ensemble close in around Anton during a portrayal of exhaustion. She tries to creep out, reach out and even tries to free Mish in these moments, but she is unheard as she is swallowed by “The Others”.

Sound and light design take a huge amount of credit as a device in this piece as well. We are stagnant and trapped along with Anton in the darkness and we are pulled into the jubilance of the bright highs punctuated by poppy, boppy, music.

It is abundantly clear this piece has involved all creatives building, supporting and creating deep intimacy, which in turn made it inevitable that the audience become deeply invested and intertwined.

It’s a bold and breath-taking culmination of art forms that does great justice to shining some light on an important lived experience. I highly recommend supporting this work.

To book tickets to BiPolar Express, please visit https://sydneyfringe.com/events/bipolar-express/.

Photographer: Nat Cartney

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