Review: ALTAR BOYZ at Seacoast Repertory Theatre

At Seacoast Repertory Theatre, the current production of Altar Boyz plays less like a traditional musical and more like a full-on concert experience—loud, fast, and packed with driving beats and body-bending choreography.

The show, which began life Off-Broadway, centers on a fictional Christian boy band wrapping up its “Raise the Praise” tour. It’s an unusual premise, but the Rep commits fully, and that commitment is exactly what makes it land.

From the opening blast of “We Are the Altar Boyz,” the audience is dropped into a slick, high-energy performance complete with headset mics, tight choreography, and the glossy confidence of a late-’90s boy band. Director and choreographer Jo Meallo keeps the pacing brisk, and the movement rarely lets up. It’s athletic, precise work, and the cast handles it effortlessly.

Don’t come looking for a deep plot—there really isn’t one. Like the musical Godspell, the show unfolds through a series of songs and monologues (or “confessions”) that loosely connect. Fortunately, the transitions are smooth, and there’s always enough energy onstage to keep things engaging.

Musically, the score leans hard into early-2000s pop—catchy hooks, layered harmonies, and just enough exaggeration to feel both authentic and knowingly corny. Under music director Andrew Strout, the vocals remain clean and well-balanced, particularly in group numbers like “Rhythm in Me” and “The Calling.” The score by Gary Adler and Michael Patrick Walker is pitch-perfect in its parody, capturing the genre so well you almost forget it’s satire.

This is very much a five-man showcase, and the ensemble’s chemistry—familiar faces at the Rep—adds to the appeal. Their camaraderie feels genuine, and that ease translates directly to the audience.

Sean Mullaney’s Matthew has the polished front-man presence you’d expect, with a bit more emotional depth in “Something About You.” Robert Fabricio Armstrong brings warmth and charisma to Juan, especially in “La Vida Eternal.” Jared LeMay leans into Luke’s comic cluelessness with charm, landing “Body, Mind & Soul!” as both funny and oddly sincere.

Sam Robert Rogers gives Abraham one of the evening’s most grounded moments with “Everybody Fits,” a song that could tip into sentimentality but is handled with welcome restraint. Samuel Tolley’s Mark builds effectively toward “Epiphany,” delivering one of the show’s most engaging and dynamic highlights.

The book by Kevin Del Aguila keeps things light, poking fun at both boy-band culture and religious messaging without veering into anything mean-spirited. Group numbers like “Church Rulez”—a playful crash course in attending Mass—and “Rhythm in Me” are standout moments. “The Calling,” in which Jesus reaches out via cell phone (“No roaming charges were incurred”), is a particular crowd-pleaser, while “I Believe” closes the show on an upbeat, anthemic note.

Technically, the production keeps things simple but effective. Rachel Neubauer’s sound and set design do exactly what’s needed without distraction, while Christian Arnold’s lighting carries much of the visual storytelling, shifting from concert-style brightness to more intimate moments. Costumes hit the expected boy-band notes: coordinated, slightly flashy, and just exaggerated enough for humor.

If there are drawbacks, they’re relatively minor. A recurring “Soul Sensor” gag—tracking the audience’s spiritual progress—feels more functional than funny, existing mainly to set up a later plot point. More noticeably, a moment in Matthew’s abstinence-themed number that pulls an unsuspecting female audience member onstage lands awkwardly. What starts as a clever solo turns uncomfortable, and the payoff doesn’t justify the setup. It’s a gimmick that would be better left out.

What ultimately sticks with Altar Boyz is how much fun everyone is clearly having. There’s no attempt to outsmart the material; it’s played straight, which only makes it funnier. While the religious humor may raise eyebrows for some, it never feels harsh or alienating. For those with a Catholic background, in particular, there’s an added layer of familiarity.

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