Professional clean-up killers are the subject of a wonderfully imaginative production by playwright Alastair Brown. In a feminist switch, the dark comedy tasks two women with the job. Next to Godliness, blends absurd humour, brilliantly choreographed physical theatre and a darker exploration of women’s place in the world.

Sophia (Alice Livingstone) and Erin (Alisha O’Brien) have very different views of their profession. Curious Erin wants to know how it went down, approaching each crime scene with the forensic precision of a CSI investigator. She knows how many bullets remain in the gun and where each one struck. It’s easy to imagine her pursuing a different career path, perhaps investigating the crimes rather than cleaning up after them.

For Sophia, the work is a job and “no different to cleaning up a dropped birthday cake.” Jokes about late bookings and group discount rates for the number of goons add to the absurdity.

But what happens if one of the bodies is still warm? Suddenly, the cleaning crew must confront what they are really capable of.

Directed by Madeleine Withington, the production plays with convention, placing women in a world traditionally dominated by men. The language of business is woven throughout, with references to mission statements, return on investment and meetings that could have been emails, embodied by a hitwoman (played by the ruthless ruthless Sonya Kerr) dressed in a business suit.

Withington explains, “Directing this play is about making the pop culture action fantasies that have been so accessible to men for decades (Reservoir Dogs, Boondock Saints, John Wick, Taken), Accessible to women, who also are consumers of those stories. That’s what I’ve been thinking about. That, and I guess, if you want to get rid of blood stains, ask someone who menstruates.” 

The second half of Next to Godliness shifts into darker psychological territory. The levity gives way to greater depth, exploring a slow death – a woman being made to feel smaller and smaller, slowly being cut down over years of slights and verbal abuse. The idea of being gradually cut down further emphasised through the chorus’s use of threads, evoking the thread of life and the measure of a life lived.

Avalon Ormiston’s choreography is a highlight, masterfully executed with the three dead bodies, played by Jessica Carter, Sophie Newby and Harrison Collis-Oates. Acting as a Greek chorus, they are part of the narrative, coming to life, dancing through the re-enactment of their deaths and acting as judges to the actions of the women.

The production also stars Nathan Farrow as a victim, rounding out an ensemble that embraces the play’s heightened theatricality.

Tom Bannerman’s set design features screens that slide and shift, while Julian Dunn’s lighting creates dramatic shadows and washes of red. Matthew Forbes’ music selection moves from smooth, relaxed crooner style of Perry Como to modern day, high-energy, quirky and macabre music, each fitting the scene.

The production explores expectations of women’s roles and the stereotypes surrounding even the business of murder. It encourages women to take ownership: find out who you are and then do it on purpose. Contract killing isn’t just a boys club.

Next to Godliness delivers on its promise to entertain. As Withington explains, “This show is made to be entertaining, heightened, and was created to offer escapism.”

3 stars

Presented by New Theatre Next to Godliness is playing at New Theatre in Newtown Sydney until 31 October 2026.

Run Time: 80 minutes (no interval)

For tickets visit New Theatre Book Now