‘The Saviors’- Faith, Loyalty, Doctrine

By Alix Cohen

Michael (Ivan Howe) and Paul (Julius Rinzel), both in their early teens, chase one another competing in such chores as the speed of candle snuffing. Were they not wearing albs, you’d never take them as altar boys. The best friends wrestle, then neatly unbutton the back of each other’s robes. Michael enthusiastically talks about upcoming Confirmation for which they must choose saints.

St. Michael was a powerful heavenly spirit, the leader of God’s army, and the protector of the Church. St. Paul, an author and scholar, spread the teaching of Jesus in the first Century AD. IMichael wants them to choose one another’s namesakes. Paul won’t commit. In fact, he no longer wants to talk about their going on to Catholic college together i.e. a tandem future.

One snowy evening while locking up, Julian (Stanley Simons- late twenties) asks to be allowed to pray before the doors close. The scruffy young man with a life-on-my-back knapsack was once an altar boy there. He clearly has nowhere to go. Michael wants to pack him off to a shelter down the block, while Paul suggests leaving the door open so Julian can spend the night. He facilitates this, likely without Michael’s knowledge, trudging back through the snow to bring food.

In the presence of a slightly older, independent man, Paul opens up. He confesses to Julian he’s lost his faith, something with which he appears to be making peace. Does this kind of thing happen? Michael can’t accept it. Paul then confides an occasion on which his friend “touched” him.The two unsettling concerns don’t seem related, yet Michael assumes they must be.

When Paul doesn’t show up for the youth group meeting, Michael is worried. That he’s the only attendee creates some lighter moments. Judy (Crystal Finn), a church activist whose son is ostensibly doing missionary work in Africa, must cope with a single, if awkwardly willing club member. Later, in a dramatic turn, she’s compelled to exercise tough love in a way we don’t see coming.

Written when the author was 19, the play seems an academic exercise in the identification of a TRUE Christian. The Episcopal Church, the Evangelical Lutheran Church in America, the United Church of Christ, and the Metropolitan Community Church allow homosexuality. The Catholic Church does not.

It looks like Paul wants to stay friends with Michael, but doesn’t have the words to gently explain what he doesn’t want. Michael presumes he’ll never be forgiven by either God or his unacknowledged love. Which, one wonders, is more important? An act of contrition is surprising. Then there’s Judy’s situation. Does dogma value martyrdom over self-preservation?

Questions are raised but barely addressed. The ending is an unresolved cop-out. Individual stories don’t connect well. Empathy comes and goes without sustaining. The piece has unrealized potential.

Director Jack Serio uses the space well. Interaction between the boys lands. Unfortunately dialogue fades or is lost when they face away or lie on their backs. Head to his knees, Michael utters important last words inaudibly.The young actors, at 13 and 14, are untutored in projection. Julius wastes way too much time curled in on himself, hiding what he thinks and feels.

Julius Rinzel’s Paul is believable The actor’s naturalistic listening and reacting, his physical bearing, reflects apt affection, sympathy and confusion.

Ivan Howe (Michael) is credibly evangelical but too self conscious. As Julian (also the patron saint of hospitality), Stanley Simons in no way embodies his character’s addiction, even were he abstinent.

Crystal Finn’s Judy is terrific. Hapless attempts to lead a youth group are droll; response to Michael’s over attachment is wary and balanced. A scene with her son shows battered spirit and necessary cruelty.

The Roman Catholic chancel set (David Zinn) is discreet/subdued just as one might imagine it in a school.
Costumes (Avery Reed) follow suit.
Sound by Leah Gelpe engineers music and choir with skill. That dialogue phrases are lost may not be possible to fix.

Note: A voice-over sermon and choir as we’re seating is effective.

Photos by Ahron R. Foster

The Saviors by Bubba Weiler
Directed by Jack Serio
Atlantic Theater Company
Through August 15, 2026
335 West 20 Street https://atlantictheater.org/