An irreverent, energetic and thought-provoking celebration of human goodness that challenges the absurdities of organised religion. Rating
Good!
‘Heaven is a Place on Earth’ by Belinda Carlisle and ‘My Sweet Lord’ by George Harrison serenade the audience as we wait for Renée Rossi: God Bomb to begin, supporting the advertised theme of the show: an irreverent take on organised religion.
The next thing we know Renée Rossi Donlon stands centre stage commanding attention whilst wearing rather marvellous spikey headgear. Arguing her case against an unseen, unheard, but all-powerful sainthood committee, she demands that she should be considered for modern sainthood.
Donlon has a flip chart to support her argument, outlining her key achievements in recycling and promoting accessible abortions. And, as she explains through jaw-dropping illustrations, the historical bar for canonisation has not been especially high, and therefore her attempt is perfectly reasonable.
What follows is a sacrilegious, energetic, and gloriously silly show, based around a series of absurd sketches, that pokes fun at organised religion whilst asking some pretty serious questions about formal faith. We encounter a skit of the snake repeatedly trying to convince Adam to take the apple (at one point placed phallically at the front of Donlon’s shorts); sheep fighting against typecasting at a nativity play audition; God’s publisher giving constructive criticism to the Bible, urging that he appeal to the neurodiverse audience; and Jesus’ mom just wanting one decent photo. All these are accessorised with DIY costumes and props to complement the heretical vibe. What’s not to love?!
We also receive some important historical information, notably about the lesser-known but horrific practices that Mother Teresa used. These included sending much of the money raised for her medical centres to the Vatican to promote anti-abortion practices and failing to implement processes and use medical equipment that would have saved lives. During this narrative, Donlon employs a neat theatrical trick: sitting at a table, she flicks over a large notepad, the underside of which informs the audience in emphatic capitals that THIS IS ALL TRUE.
The production feels a little sticky at times as we career from skit to skit, and although Donlon’s energy and commitment are unflinching, a little refinement would help. There is a section in the middle where she asks the audience to open envelopes handed to us before entering the theatre, each containing an animal identity. I’m not entirely sure that this section worked, other than contributing to the Noah’s Ark story. There isn’t time to ask everyone for their identity (perhaps I’m simply disappointed that I was left out), and even for those who are included, there are little results beyond their names being added to the register.
What is a resounding success is the driving force behind the narrative. When so many people across the globe are non-believers, why is the aspiration for divine goodness based on a series of frankly bizarre stories and allegories that are so disconnected from modern life? And perhaps if we celebrated the love and uniqueness in everyday life, as opposed to outsourcing our divinity to a future date yet to be identified, the world would be a better place…
And thus endeth the show.
Written and performed by Renée Rossi Donlon
Directed by James Wren
God Bomb has completed its run at the Etcetera Theatre as part of the Camden Fringe Festival.
