JEEZUS! was born from a simple, outrageous question: How do I turn the trauma of growing up queer in conservative Catholic Latin America… into a musical comedy?

Performed by Sergio Antonio Maggiolo & Guido Garcia Lueches JEEZUS! is a blasphemously bold and unrepentantly queer musical that collides Catholic guilt with Latin heat. Directed by Laura Killeen, the production is set in South America, and follows young altar boy Jesús as he prepares for his first communion—only to be struck by unexpected feelings for the crucified Christ. What unfolds is a riotous journey of queer awakening, religious iconoclasm and ecstatic liberation.

Blending live music, dark humour and unapologetic sensuality, JEEZUS! is as irreverent as it is irresistible. Think Bo Burnham meets Brecht meets Bad Bunny. With a pulsing Latin soundtrack and biting satire, the show tackles themes of colonialism, sexuality and sin with a wicked grin and a gospel beat.

This show is not here to mock religion. It’s here to wrestle with it. With all its contradictions, ecstasies, hypocrisies, and power. I grew up in a part of South America where religion was more than dogma. It was a pillar of identity. A language for love, for family, for community. But like many queer people, I learned early that that love came with conditions. That faith could be a door. Or a wall.

JEEZUS! takes place in a surreal, camp, and filthy theatrical universe. Two divine narrators, MIGUEL and GABRIEL (half archangels, half go-go dancers), guide us through the story of Jesús, a super Catholic Peruvian altar boy on his way to his first communion, and his unexpected queer awakening, triggered by none other than a very sexy Jeezus Christ.

You’ll notice the spelling: Jesús is the boy (pronounced hey-SOOS), and Jeezus is the son of God. The distinction matters. Jesús is always portrayed as a child, even though he’s played by an adult actor. The sexual elements of the show come from adult reflection on childhood shame and desire, not from the child himself. It’s part of the play’s central tension: how can someone so young, so devout, so desperate to be “good,” navigate desire when the only model of divinity is a tortured, hypermasculine man nailed to a cross?

This show is absurd, joyful, and brutal. It’s also a love letter; to queerness, to myth, to the kids who thought they were going to hell. I wrote it with my real-life partner, Guido, and we perform it together as a two-person act of divine mischief and radical tenderness. And at its heart, it’s not really about God. It’s about the stories we inherit, the bodies we live in, and the miracles we make for ourselves.

We’re so glad you’re here. Whether you came for the blasphemy, the music, or the foot fetish jokes, bienvenidx. You are a miracle. I’m here for you.

REVIEWS

AUDIENCE REVIEWS

THE MUSIC

CONCEPT EVOLUTION

Work-in-progress performance (2023)