Catholic Protest Aids in Shuttering Drag Performances in Former Church Building

A drag group’s opening night show has sparked protests with charges of blasphemy, as well as prompting discussion around the interplay of queer art and religion.

Divine Playhouse drag artists during the performance of their show.

Divine Playhouse, a queer arts group in Sydney, Australia, organized an LGBTQ+ performance space inside an unconsecrated church building, according to LGBTQ+ Nation. The building, which was deconsecrated in 1932, has since been used as a school and a theater. After receiving a $100,000 grant from the New South Wales arts council, Divine Playhouse set out to turn the building into an LGBTQ+ performance space. 

Opening night for their first show was marred by controversy, however, as over 70 individuals from Catholic and other Christian groups gathered to protest the performance. Two groups that participated in the protest, The Prodigal Sons and Fit For The Kingdom, decried the performance on their social media accounts, calling it “hateful blasphemy that mocks what we hold most sacred.” The groups called for the government grant to be withdrawn and encouraged others to “join in prayer for the souls of the people behind this desecration.” 

Many of the protesters specifically took offence to the drag performers’ use of religious imagery and themes, including the performance’s title, “Sunday Mess — An Unholy Brunch Party: The Resurrection.”

The entertainment group originally called itself “Unholy Playhouse,” but after protests began, they changed their name to “Divine Playhouse.”

As a result of the protests, the building’s landlord issued an order to Divine Playhouse to stop “engaging in offensive trade” or risk being evicted. Divine Playhouse issued a statement that they had been forced to close the venue and cancel all events, noting: 

“The arts have always been a place where people ask difficult questions, challenge ideas and use humour, satire and performance to reflect on the world around us. Not every work will resonate with every person, but the freedom to make and experience art is part of what makes an open, creative and democratic society.”

The remaining weekend performances were canceled, and the group’s future remains uncertain. 

Several people spoke up in defense of Divine Playhouse, including promoter James Thorpe, founder of Odd Culture Group and co-chair of the Night Time Industries Association in Sydney: 

“Freedom cannot mean the freedom to say what you believe while demanding silence from everyone who disagrees For generations, queer people have fought for places to gather, perform, be loud, irreverent, joyful and entirely ourselves. Christians have a right to preach, protest and stand outside Divine Playhouse and pray. Queer artists have the right to make art that is confronting, irreverent and, yes, offensive.” 

Sydney’s Deputy Lord Mayor Jess Miller attended the opening night and noted that queer art and creativity, such as that demonstrated by Divine Playhouse and their performances, are critical to Sydeney’s culture and economy, according to ABC News Australia. In addition, she praised the way that such a space creates community:

“What happens between us when we come to places like this is we create cathedral communities that are ultimately so much stronger for being together than for being split.”

Although it certainly draws controversy and protest,  art which is unapologetically queer can undoubtedly have a spiritual aspect–a way of bridging gaps and bringing people together. Charlotte Farrel drew upon this idea in her essay for The Conversation, noting, “There is a long history of queer performers and church spaces interacting in ways that support both communities.”

She cites numerous examples including The Sisters of Perpetual Indulgence and drag performer Pura Luka Vega’s version of the Lord’s Prayer to highlight the many ways that queer performers often use religious imagery and themes to question, criticize, reclaim, and celebrate a faith that is so often considered to be not their own.

While it is true, Farrel says, that sometimes the use of church spaces is simply for logistical benefits–due to financial reasons or the lack of queer art spaces– it cannot be denied that the offering of queer art in churches has a significant spiritual weight. Any time a queer artist engages with religion and spirituality in their work, it can be seen as an opportunity to explore those intersections more deeply: not as a mockery, but an invitation. 

–Phoebe Carstens, New Ways Ministry, August 3, 2026