In 1843, German philosopher Karl Marx famously wrote that “religion is the opium of the people”. So, does religion exist to assuage the tough times? But so much about it can’t be explained. It just is. Think of a virgin birth for starters. And then how do you deal with the untold misery in the world. Need I go on? In short, religion has a lot to answer for.
All these thoughts came flooding into my mind as I was watching the well-conceived and executed Big Religion, from first time writer and director Maddi Formosa. Through an epilogue, 17 short scenes and two prologues*, she moves back and forth in time to reveal the story of two schoolgirls and two angels.
The girls – one God-fearing and the other recalcitrant – are about 14. Dav (Gabrielle Ward) is on a full scholarship, but isn’t in touch with her parents. Jan (Caitlin McCallig) is, but disses on them and seems to have a big weight on her shoulders. She swears like a trooper and is a real drama queen.
Jan’s latest misdemeanour is breaking into the church at the religious school she attends, with a reluctant Dav in tow, and stealing and drinking the altar wine. That is when she encounters an angel cum celestial being (Megan Scolyer-Gray), who has fallen from on high and put a hole in the roof.
She has the ability to move large objects with her mind and tells nonbeliever Jan that the teen is pregnant with baby Jesus (a second virgin birth beckons). Next thing we know, Jan has tied up the angel and Dav is feeding her cheese sandwiches and walking her daily.
The angel’s back story is that she is being mentored by another celestial co-worker (Jett Chudleigh). The latter has been at the caper for eons and is in on her second chance. Jett’s character gets with the program and tries to get Megan’s iteration to follow suit, but it is clear that the latter is bored.
Back on Earth, the pair tries to copy humans by falling in love, kissing, hugging and dancing, until it is time for Megan’s being to go it alone. Jett’s being promises to find her. And so it is that Megan’s angel crash lands in the schoolgirl’s church, causing Jan to question her whole belief system.
Big Religion is a very clever and creative piece of work that pivots around expectations of oneself and the Almighty, and drawing meaning from life. Sin and salvation play a large part in proceedings, as Dav is trying to avoid holy retribution for straying from the path. She has big expectations of herself, but is only human, while Jan is frequently irascible. The angels, who are down the food chain, are still trying to work things out themselves.
The black box theatre space is superbly utilised, with seating in the round and the stage area arranged as a crucifix, highlighted by white tube lighting. With few props, save for two small black cubes, a rope, a gag, a couple of bowls and spoons and a sandwich, it is left to the actors to do the heavy lifting. Each is equally impressive, as they confront their task with enthusiasm and bite, putting on a series of polished performances. They effortlessly pivot from drama to humour, from indignation to acceptance. They are remarkably grounded, bringing a sense of authenticity to the esoteric.
They are aided by smartly interwoven sound design from John Augustine Sharp – incorporating different musical styles and sound effects. Stuti Ghosh’s lighting design too is extremely well focused, bringing us a fly on the wall perspective on proceedings. Talk about throwing the kitchen sink at a concept.
Writer and director Formosa has even managed to leave us with a superbly choreographed, up tempo dance routine. Well deserving of applause, during it Jett Chudleigh and Megan Scolyer-Gray excel. I love the push-pull dynamic that they, along with Cailin McCallig and Gabrielle Ward, bring to bear throughout.
Big Religion is a heavenly outpouring of frustration and fear, of trying to make sense of the bigger picture, for God knows the world as it now exists needs a shakedown. Eighty minutes without interval, Big Religion is on at Theatre Works’ Explosives Factory until 5th September, 2026.
*Each vignette is given an evocative name. From Exit Interview, Red Letter Day, A Report and Seven 11 to Apocalypse Now, Sleepless in Bethlehem, Escape Plan and The Big Idea.
Alex First
Other reviews you might enjoy:
- Katzenmusik, at Theatre Works’ Explosives Factory – theatre review
- Sainting Joan, at Theatre Works’ Explosives Factory – theatre review
- The Irreducible (Blank Space Productions), at Theatre Works’ Explosives Factory – theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
