Theater Review (NYC): Astounding Performances Elevate ‘The Saviors’

The Saviors

Fresh off their Drama Desk Award-nominated production Well I’ll Let You Go, Bubba Weiler and Jack Serio have created another sterling production. The Saviors, their coming-of-age play about faith, fear and emotional and spiritual abandonment, is in its world premiere production at the Atlantic Theater Company until August 15, 2026.

The terrific actors Ivan Howe (Michael) and Julius Rinzel (Paul) dynamically lead the small cast. The production also includes excellent performances by Crystal Finn (Judy) and Stanley Simons (Julian). The play may appear simplistic but is anything but. It contrasts religious doctrine, hypocrisy and doubt with faith, love and living one’s Christianity through one’s identity and personal relationships.

Paul and Michael appear as the faithful

Weiler introduces two teenage altar boys who take their faith seriously. Paul and Michael serve before and after mass in a Catholic church. They reveal their camaraderie as they compete with each other, racing to snuff out candles or stuff church bulletins to assert a whimsical dominance. Significantly, their responsibility extends to cleaning, preparing the officiating table, updating the hymnal numbers on the board, closing the lights, and locking up the church for the evening.

Initially, we think that their dedication to the church community and God solidifies their friendship. From their conversation we learn of their upcoming confirmation, their plan to go to a Catholic high school, and their decision to select a particular saint who will protect them spiritually for the rest of their lives.

The difference between Paul and Michael

Of the two, Michael appears to be more dedicated but more troubled. Indeed, he has nightmares and calls Paul for comfort.

Also during their conversation, Michael reveals that choosing a saint is consuming him. He has researched St. George, drawn to George’s martyrdom in the face of brutal torture. When Paul asks why Michael likes saints who die horrific deaths, Michael dismisses Paul’s lack of understanding. Instead, he aligns Paul with his own strong faith. He indicates that a girl they know selected St. Genevieve because of the pretty name, not the saint’s sacrifices.

Asserting their kinship in faith, Michael suggests that Paul and he “get it,” whereas others, like “the girl,” do not. He affirms that if tortured for his faith, he would never renounce God, but would choose death and martyrdom. Then he’d go to heaven and maybe become a saint kids whom would choose for their confirmations. Conversely, Paul doesn’t know if he could sacrifice himself for God.

Sacrifice

The Roman Catholic Church reverences the sacrifice of life for one’s faith. So this discussion seems particularly fitting in set designer David Zinn’s finely effected chancel, with atmospheric lighting by Stacey Derosier. As Michael and Paul express their feelings, a large statue of Christ on the cross, centered between stained glass windows, looks down at them and the long tables with the candles lit for mass. Statues of saints on the side walls designate the separation between those who serve with holy distinction and those who receive service which seated in the nave (audience), down from the steps of the altar.

The set design couldn’t be more symbolic for staging the foreboding entrance of the disheveled, homeless Julian. When Simon’s Julian slowly comes down the aisle and goes up to the altar, his presence unsettles. Immediately, Michael assumes authority over the situation. He questions the intruder and tries to get him to leave. But Paul overrides Michael.

Is this Christianity at work?

Empathizing with Julian, Paul follows the tenets of Christianity: Give succor to those in need. Paul extends to Julian an authority he doesn’t have: He will leave a door unlocked for Julian to stay safely inside during the storm. Concerned more about the rules, Michael never forgets his responsibility to the church community despite a winter blizzard.

Thus, a parable clarifies the situation. Paul extends Christian kindness to Julian, but his act requires no real personal sacrifice. In fact, his “good deed” could get himself and Michael in trouble if Julian vandalizes the church.

We also discover Paul’s motive in leaving the door open for Julian: the homeless man holds a romantic allure for Paul. In Paul’s imagination Julian, a risk-taker, differs from the hackneyed churchgoers whom he sees as living meaningless lives.

Turning points

Julian’s presence is a catalyst. He initiates turning points for the other characters, even opening doors for Paul to exit his friendship with Michael as well as his faith in God and his service in the church community.

Judy devotes herself to the church community by serving as choir director and youth leader. Because of Julian, Michael better understands Judy, whom he had asked to be his confirmation sponsor because she’s “like Mother Mary.” She also impresses Michael with her son’s devotion as a missionary helping children in Africa. However, Michael catches her in lies. Worse, she asks him to continue a deception because she can’t live with the truth.

Finally, Paul’s insulting reaction to Michael’s friendship – “You’re not my boyfriend” – prompts Michael to recognize Paul’s nature. But the truth may be too dangerous for Paul to admit. Like Judy, Paul would rather say nothing, a lie of omission. As a result, Michael, who has remained as honest as possible as an act of faith, learns betrayal and abandonment from the lies and deception of those whom he had admired and loved.

A trial of Michael’s faith

This situation seems much more difficult than the situation the beloved saints confronted: renounce their faith or die. That, Michael could do unequivocally. Instead, the deceptions throw him off his certainty; he questions his goodness in God.

In the very powerful last scenes, we understand the manifestation of Michael’s inner hell, which is his anxiety about his identity in Christ. In a fascinating twist, despite his affirmed doubt about God, Paul helps Michael to stand on God’s word and activate his faith. Paul saves Michael. But Weiler leaves us with a question. Will this act of saving Michael save Paul’s faith?

What a magnificent way to conclude this superb play, wrought by Serio who teases out the extraordinary, miraculous performances of Ivan Howe and Julius Rinzel.

The Saviors is at Atlantic Theater’s Linda Gross Theater through August 15, 2026.