Review: Miraculous, King’s Head Theatre

Miraculous at the King’s Head Theatre is a tightly built two-hander that manages to feel both intellectually rich and surprisingly light on its feet. Set in a US Christian summer camp in 2019, it follows a teenage boy, Josh, and his youth pastor, Paul, as they work through a series of daily mentoring sessions in Paul’s cabin. What begins as structured conversation about faith and behaviour slowly shifts into something more unstable, as questions of belief, authority, and forgiveness start to push both characters further than they are comfortable with.

On paper, the setup sounds familiar: angsty teenager versus thoughtful mentor. But Luke Stiles’ writing keeps it from feeling predictable by grounding it in sharp, natural dialogue and a strong sense of humour. He then plays Josh with restless energy – openly sceptical and often funny in the blunt way he challenges religion, sex, and the contradictions he sees in the system around him. Paul, played by Diego Zozaya, initially meets this with patience and a carefully controlled openness, encouraging questions rather than shutting them down. Those early exchanges are some of the most engaging moments in the play. They’re quick, witty, and never overly preachy.

What makes the piece effective is how gradually that dynamic shifts. There is no sudden tonal break, just a slow tightening of tension. The conversations remain the same on the surface, but the meaning underneath starts to change. Josh’s questioning becomes more pointed and less playful, while Paul’s calm begins to feel less like confidence and more like something being held together. Small pauses and silences do a lot of the work here, and the relationship feels constantly in flux without either character fully acknowledging it.

Director Toby Clarke’s staging reinforces this well. The confined cabin space keeps everything physically close, and the shifting proximity between the two characters – leaning in, pulling away, circling each other – becomes its own kind of power struggle. Even in relatively static scenes, the physical language keeps the tension alive and unpredictable.

One of the strongest aspects of the production is that it never loses its humour, even as the subject matter deepens. Discussions of miracles, hypocrisy, and forgiveness are handled with a lightness that stops the play becoming overly heavy. This balance means the darker turns land more effectively because they aren’t constantly signposted or weighed down. 

When a key off-stage incident shifts the tone more sharply, both characters are exposed in new ways. Josh, who often relies on humour and defiance, becomes more vulnerable and uncertain. Paul’s authority, once steady, starts to feel more fragile and defensive. The question of forgiveness becomes less abstract and more emotionally loaded, and the play is strongest in how it refuses to make that straightforward for either of them.

The performances hold everything together. The chemistry between the two actors gives the relationship real weight, and much of the tension comes through small details – glances, timing, and reactions rather than big speeches. Meg Cunningham’s set is minimal but effective, creating a space that feels contained without being static. 

If there is a slight weakness, it is that the final section becomes a bit more explicit in its thematic messaging, losing some of the subtlety that makes the earlier exchanges so compelling. That said, it doesn’t undo the strength of what comes before it

Miraculous is a thoughtful, engaging piece that balances heavier ideas with humour and humanity. It is tense without being overwhelming, and reflective without becoming dry.

Written by Luke Stiles
Directed by Toby Clarke
Produced by Brock Looser and Avery Looser for Wiggle Room
Stage Manager: Maia Thompson
Composed/Sound Design by Pierre Flasse
Associate Sound Design by Myra Bente
Lighting Design by Amy Fisher
Set Design by Meg Cunningham

Miraculous runs at the King’s Head Theatre until Saturday 20 June.