An Act of God Tries Hard at the Copley Theatre

An Act of God by David Javerbaum starts out promising to be an outrageously funny, edgy, and provocative look at God’s relationship with mankind from creation to the present, but it ultimately falls short of being as edgy or provocative as it wants to be. While the premise of God inhabiting the body of actor Alex Weisman to “set the story straight” and give us 10 New Commandments is intriguing and Weisman is extremely engaging, the execution often feels more like a stand-up routine with occasional moments of surfacey profundity, rather than a deeply challenging theatrical experience. In the audience, there were laughs aplenty, so maybe it’s just me, but I was really underwhelmed.

I think I am not the right audience for this play. I have to admit to knowing a LOT more about the Bible than your average person, having studied it defensively in the 1980s as my church was taken over by newly-energized Christian Nationalists following Jerry Falwell in order to refute their crappy theology, and then as part of my history major where I saw how the text evolved over the millennia, and then for cherry-picking use in a professional capacity in advertising religious-themed products. So all Javerbaum’s “edgy” takes on various famous Bible stories were not just old hat, but about half as edgy as you hear from genuine Biblical scholars arguing with each other.

That said, it’s not without entertainment value, especially with people who only vaguely remember the stories involved and who maybe haven’t ever really thought deeply about them.  If you are really involved with Bible study, you will either be offended or just shrug, like I did.

The play’s primary strength lies in its comedic writing, no surprise given Javerbaum’s background as the head writer for The Daily Show. The dialogue is packed with puns, irreverent jokes, and witty one-liners that poke fun at religious doctrines and modern cultural phenomena. Weisman, as the incarnation of God, delivers these lines with charm and timing, managing to keep the audience entertained through sheer charisma. However, some of the humor—like dated pop culture references, cliched refutations of old saw Evangelical talking-points, and just overall trying too hard to tell us how gay and edgy it is, fall rather flat.

The core of the play revolves around God revealing a new set of Ten Commandments, many of which serve as vehicles for social commentary on topics like gay rights and human sexuality. Some of these moments hit the mark, offering a refreshing perspective on long-standing religious beliefs, while others feel like they only scratch the surface of deeper discussions. The play tries to balance irreverence with sincerity but struggles to push beyond shallow gags.

Director Keira Fromm keeps the staging minimalistic, like the set of a heavenly talk show, with most of the action centered on a couch where Weisman, as God, sits and lounges and stands for the majority of the show. The supporting angels, Gabriel (Em Modaff) and Michael (Michael Turrentine), do little to counterbalance this static energy, even though Michael does go into the audience to (ostensibly) take audience questions.  It is still basically a glorified one-man show with Weisman doing all the heavy lifting.

As a satire, An Act of God feels more like a playful nudge than a bold critique. While it touches on significant religious and existential themes, the script often pulls back before delivering anything truly biting or challenging. The humor is accessible and, at times, quite clever, but audiences expecting a more fearless or subversive take on faith might leave wanting more​. The recent performances of Hand to God at the same venue were far edgier and just as packed with modern religious significance.

Despite its shortcomings, the play does have moments of brilliance, particularly when it turns to more introspective themes about humanity’s relationship with God and as God says, “what is wrong with me?” In the final act, these moments provide some of the emotional depth that is missing for much of the performance, but by then, it may feel like too little too late​ plus the breezy ending shoves all serious contemplation aside.

Overall, An Act of God entertains, but it doesn’t fully capitalize on the edginess it aspires to. The jokes and Weisman’s winning performance carry the day, but the lack of a deeper, more incisive critique of its weighty themes ultimately leaves the play feeling more like a divine diversion than a true theatrical revelation​. It also has a run time of 80 minutes start to finish, so be prepared for that as well.

All photos by Liz Lauren