Sydney Government-Funded “Unholy Playhouse,” The Left’s Temple
An LGBTQ venue called the Unholy Playhouse, later renamed the Divine Playhouse, opened in the site of a 158-year-old former Catholic church in Sydney with taxpayer funding. Christian groups protested because the shows directly mocked Christianity. In the end, the landlord, Revelop, issued a breach notice demanding that the venue “cease engaging in offensive trade” within two days or face lease termination.
However, the intense debate in support of the venue, particularly the rhetoric condemning Christians for opposing it, illustrates the shift toward a post-Christian world.
The building, St. John the Evangelist Church, was built in 1868, owned by the Catholic Archdiocese of Sydney, and deconsecrated around 1932. It later housed the Genesian Theatre for roughly 80 years, and the property was sold to developers in 2017. The Divine Playhouse opened on July 8, 2026, operating on a one-year lease with an option to extend, at 422-424 Kent Street in Sydney’s CBD.
The venue was produced by Kat Dopper, known for Heaps Gay and Pleasures Playhouse, and operated by Heaps Gay Events. It was marketed as “a sanctuary for divine mischief.” Programming included live music, DJ sets, karaoke backed by a gospel choir, a cabaret series called Holy Flesh, a Harry Potter-themed party, and an event titled Possession, billed as Australia’s first live exorcism, scheduled for October. A weekend event was billed as Sunday Mess: An Unholy Brunch Party – The Resurrection.
Opening-night staff included performers dressed as nuns in blue habits. The project received a $100,000 grant from the New South Wales government arts agency, Create NSW, to support a four-month program. The opening event, titled “The First Rite,” featured men dressed as nuns in sexualized pig angel suits. The following night, the venue hosted a comedy show titled Two Queers Walk Into A Bar.
A spokesperson for the Catholic Archdiocese of Sydney said the church “holds a strong Catholic history, and to see it used for direct mockery of our beliefs – events built around the resurrection and purgatory – is genuinely hurtful to our community,” and called on the NSW Government to “apply the same standard to all faiths.”
The venue drew immediate opposition. On opening night, roughly 70 people from Christian groups Fit for the Kingdom and The Prodigal Sons gathered outside the venue, chanting hymns and filming attendees. One protester, Lewis Anderson, filmed himself confronting patrons entering the venue and posted the video to Instagram. Catholic petitioner Chris Nave’s Change.org campaign calling on the NSW Government to withdraw support for the venue reached 5,200 signatures.
The two Christian groups gave specific reasons for their opposition. A Prodigal Sons spokesperson said the choice of a former church was deliberate rather than incidental. “There is no shortage of venues across Sydney where the LGBTQ community is free to express itself and its artistic creativity,” the spokesperson said. “The selection of a former church is a deliberate and conscious decision.”
The groups pointed to a specific opening-night performance, in which a performer dressed as a pig offered McDonald’s fries as a parody of Holy Communion, as an example of what they found offensive. A Fit for the Kingdom spokesperson said the group’s objection was to performances that “mocked Christian beliefs.”
Both groups said their goal was not to silence artists but, in the words of Prodigal Sons, to communicate “how deeply this material has wounded a community of faith.”
https://www.thegatewaypundit.com/2026/07/sydney-government-funded-unholy-playhouse-lefts-temple/