How many father–son toxic relationships can fit into a single hour at the Fringe? According to Sergio Antonio Maggiolo and Guido García Lueches’s new musical ‘Jeezus!’ the answer is at least three.

At the heart of ‘Jeezus!’ is the boy Jesús, played by Sergio Antonio Maggiolo, born of his mother Maria’s prayer and raised under the rigid authority of his father José. Religion governs the household, and with it comes homophobia, leaving the boy fearful and struggling as he prepares for his first Holy Communion. His sexual awakening begins during a visit to the United States, where he is drawn to his cousin, and intensifies back in Peru as sacred images such as the crucifix, the Lord of Miracles painting and the TV miniseries Jesus of Nazareth take on a startling erotic charge. Told to love Jesus, he does, but that love is indistinguishable from longing.

Into this turmoil steps Jeezus, performed by García Lueches half-naked, transforming anguish into fantasy. The boy’s forbidden feelings erupt into romance with his divine namesake. Faith and desire no longer clash but intertwine in a fervent, camp embrace. The effect is audacious, recalling Paul Verhoeven’s Benedetta, though here Maggiolo directs the story towards warmth and joy rather than scandal or sin.

Yet ‘Jeezus!’ does not ignore the broader structures surrounding this personal tale. It acknowledges Peru’s colonial past and the way the Christian church thrived upon it, as well as the neocolonial ties binding Peru and the United States. The latter is satirised in a sharp, playful metaphor: America as a sexual ‘daddy’ in another skewed father–son dynamic. Layered atop the fraught bond between Jesús and José, and the cosmic conflict between Christ and his Father, the show becomes more than just a riot of contested authority and paternal desire.

Though this small queer musical lacks the grandeur and polish of a West End production, its inventiveness is admirable. Laura Killeen’s direction is spirited, while Carolina Rieckhof’s costumes heighten the queerness and camp with wit. Like many recent British musicals, ‘Jeezus!’ hops across genres, even slipping in a cheeky rap (thank you, Hamilton!). The variety is fun and familiar, though it invites the thought that leaning further into Peruvian sounds could give the piece a more distinctive voice. Still, even this messiness matches its energy.

The ending comes suddenly, with a rainbow blessing the stage and harmony restored. It is dreamy, silly, and fairy-tale neat, but it feels true to the spirit of the piece. The joy of ‘Jeezus!’ lies not in realism but in camp, cheek, passion, and unapologetic exuberance. There has been enough trauma in queer theatre. Here, amid satire of religion and resistance to oppression, is space for celebration. ‘Jeezus!’ embraces queerness as love, bravery, resistance, and joy.

‘Jeezus!‘ has finished its Fringe run