JEEZUS! - New Diorama Theatre Review

Review by Clara
Tickets were gifted in return for an honest review

Content warning: This review and the musical being reviewed contain sexual content and reintepretation / sexualisation of religious symbols.

Photo by Alex Brenner

‘JEEZUS!’ fits in more dick jokes in its 69-minute runtime than the raunchiest Shakespeare play.

In this exuberant musical comedy, there was once a couple, José and Maria, who dearly wished for a child. Maria very piously knelt before the mural of the Lord of Miracles and made a deal with God. This last-ditch, Hail Mary effort yielded results, and the couple joyously welcomed a baby. 

“José”, the father’s name, is equivalent to “Joseph” while “Maria”,  the mother’s name, is equivalent to “Mary”, so naturally they name their miracle infant “Jesús”.

Peru is not only the origin of Paddington Bear, but also of our protagonist Jesús – a character as far as it is possible to be from the duffel coat-wearing bear.

For Jesús and his family (all roles played by Sergio Antonio Maggiolo and Guido Garcia Lueches, who are also responsible for the music and lyrics), religion permeates their lives. It’s deeply embedded in Peru, stemming from the 16th century when Spanish colonialism spread Catholicism across the land, mostly through forced conversions.

Jesús grows up in President Fujimori’s 1990s Peru, under the stern eye of his father, Lieutenant José. Historical and political context for this tumultuous period in Peru is delivered through my favourite song in the musical, “Papi Issues”. This song contains a rare non-raunchy pun where “bridge” refers to both a musical bridge and a physical bridge. Later, in “Fruit From the Tree”, the homophones “Eden” and “eaten” are ingeniously used. That song’s refrain is surprisingly catchy: “like Eve, like Eve, like Eve, like Eve, like Eve…”

Photo by Alex Brenner.

Besides the copious double entendres, the dialogue and lyrics are layered throughout, with some blink-and-you-miss-it jokes and details. ‘JEEZUS!’ takes every opportunity to lean into the kinky and the transgressive, including references to self-flagellation and exhibitionism, and simulation of sex acts.

Eager for his parents’ approval, Jesús is overjoyed at being selected as the altar boy for his first communion. But could his recent sexual awakening, and queerness, derail everything?

Each crash of thunder in ‘JEEZUS!’ represents God’s wrath, which Jesús is fearfully aware of as he sings and dances his way to self-discovery. The music takes inspiration from church hymns, lively bolero and salsa tunes, and – particularly in climactic moments – headbanging rock. In the context of this musical, I tend to agree with the creators that there can never be too much trumpet.

One of the most affecting moments is when Jesús speaks to us at the close of the musical – a heartfelt benediction that speaks of a hard-won peace.

In a musical full of sensational, explosive plot points, the little details are truly delightful: cheeky moments involving multi-instrumentalist and musical director Tom Cagnoni; biblical references in the title of each scene; Jesús and his mother reenacting poses from iconic Catholic artworks while having a heart-to-heart conversation; and, as part of the backdrop, golden dildos encrusted with droplet-shaped gems.

‘JEEZUS!’ opens a (stained glass) window into growing up queer in deeply-devout Peru. It transmutes religious guilt into defiant joy.

⭐⭐⭐⭐½

‘JEEZUS!’ runs at New Diorama Theatre, London until Saturday, 9 May 2026. Tickets are available from: https://newdiorama.com/whats-on/jeezus 

For more information and updates, visit: https://www.instagram.com/jeezus.uk/

Photo by Alex Brenner.