Mega Church Xmas Play at Libra Theatre, London Review
This production contains religious themes and sexual references.
At the end of Mega Church Xmas Play, creator Nicola Ryan comes on stage and thanks us for supporting zero-budget fringe theatre. It’s an important reminder that most indie shows – especially in a festival context like the Camden Fringe – run exclusively on the talent, commitment and (unpaid) work of a handful of people. Were we operating in an adequately resourced industry, they would be compensated fairly for their time and work; but we’re not, and this always leads to overstraining, blurred roles, and endless creative and logistical compromises.
Mega Church Xmas Play, on paper, very much reflects my taste: it’s irreverent, quintessentially queer, and – plainly said – absolutely unhinged. However, I was a bit disappointed by the execution of its unarguably original premise. The core of my concern about this piece is: how much can a show play with its wackiness before crossing the line from chaos to confusion? I’m all for surreal and even manic experiences at the theatre, but I do find the best kind of pure dramatic silliness is often supported by a strong framework. The most deliciously strange, pastiched, all-over-the-place thing you’ll ever see will have a well-thought-out structure behind – working as intended exactly because it’s (almost) invisible.
In my opinion, Mega Church Xmas Play doesn’t have a strong enough construction to fully support it, resulting in well-meaning but unpolished work. It pushes its farcical elements really strongly, but the script feels at times forced and the direction needs to be overhauled – especially the elements involved in scene transitions, which at present don’t consider the limitations (and possibilities!) of a fringe set-up. The absence of a director in the flyer has left me questioning, and my most urgent suggestion to the company would be to get an outside eye to help with this show; ideally someone with experience in dramaturgy for small-scale venues.
Mega Church Xmas Play looks like a passion project in the best possible way. Everyone involved seems to care about the vision and to enjoy the experience; this leads to some genuinely fun, albeit unscripted, moments – hats off to the performers for transforming an avalanche of tech glitches into one of the funniest sketches of the evening!
Unfortunately, the liveliness and fun that the script clearly wants to achieve didn’t really translate into a strong theatrical experience, in my personal experience. I struggled to connect with the plot, the characters, and the world-building. Part of this is justified because the whole show is a big caricature; we are looking at clichés/archetypes more than characters, and at short-term comedic payoffs rather than deeper arcs. That’s all fair and I’m not suggesting that Mega Church Xmas Play should become a linear, psychological exploration of big existential questions; however, I feel we’re missing an emotional core, something or someone to care about and hold on to.
In its present form, Mega Church Xmas Play looks more like a rehearsal between friends rather than a production. If I may advance a suggestion, I think it is in too early a stage to be presented to reviewers as a finite product. Getting honest feedback from the run and using it as the starting point for a R&D, with a director, would be my recommendation for the next step.
If properly restructured and rigorously re-rehearsed, I think Mega Church Xmas Play could become a fun hour of impudent, joyful theatre, sprinkled with some interesting observations about the manifestation of the divine and the function of religion. These themes are worthwhile, especially when observed from a queer lens. I hope the team gets the opportunity to grow the project to its full potential.
Mega Church Xmas Play played at the Libra Theatre as part of the 2026 Camden Fringe.
★ ★
Written by Greta for Theatre and Tonic, August 2026.
