Spoiler alert: If you are a devout Roman Catholic or a devout any kind of Christian, here’s a warning about "The Divine Sister," which opened Thursday night at Off The Wall Theatre: Enter at your own risk.

Irreverent doesn’t even begin to capture the spirit and execution of this tale by playwright Charles Busch.

Let’s see. Here is just some of what we have.

Mother Superior – played by Mark Hagen – runs a downtrodden school and convent called St. Veronica’s. She sums up her view of life with, "My dear, we are living in a time of great social change. We must do everything in our power to stop it."

From that point on, we get nuns who use language that would make a long-haul truck driver blush, a claim that "Jesus isn’t a man; he’s a concept, a myth," a postulant who morphs from a soulful healer to a cleavage challenged slut after finding out the Mother Superior is really her mother, thereby ruling out her belief that she is the Immaculate Conception.

Along the way, we have fart jokes, lesbian nuns, a renegade Catholic hit woman, gay jokes, sight gags, lip synching like the Singing Nun, intimate and detailed descriptions of a man’s genitals, and a discussion and demonstration of throwing up.

Calling this comedy broad is like saying that Robert Redford isn’t bad looking.

If anyone wants to know what vaudeville was like, go see this play that sadly only runs until Nov. 3.

Under Jeremy C. Welter’s direction, the production has zero percent subtlety and 100 percent off-color, fake dramatic arcs and comedy. 

Someone once said, "Dying is easy. Comedy is hard." Whoever it was never saw this production. 

Normally I am not a fan of potty-mouth humor. I can forgive it in 6-year-olds, but rarely in adults. I make an exception for this play. As explained late in the second act, Jesus did not do all those miracles and stuff. They were done by his sister, Joyce Christ, whose 2,000-year-old body has been maintained in the basement of St. Veronica’s. See what I mean?

There is a plot to "The Divine Sister," but nobody should waste a second trying to figure it all out. Just lean forward in your seat and don’t forget to breathe.

Hagen is the leader of this loony bin as Mother Superior. That’s right. He plays a mother. Gender bending was never so much fun. At some point in the development of this production, Hagen must have decided to put the play on his shoulders and carry everyone along to a happy ending. His performance is delicious and he gives new meaning to the phrase "drama queen."

Heather Reynolds has what might well be the most memorable scene in the play, and the actress does it without uttering a word. Before she joined the convent and became Sister Acacius, she was Lily, a madcap girl about town. When things start to grow out of hand in the convent, she gets back in touch with her wanton ways, although she fights it.

There is a scene when Welter, playing a guy trying to sign up the postulant for a movie about her healing powers, explains in excruciating detail about his genitals, and the adoration and attention they command.

Sister Acacia stands next to him as he tells the world about his prowess. With every switch to yet another wonderful portion of his genitalia, Sister Acacia burns in willing, yet surprising, formerly dormant sexuality. Her performance is an exceptional display of how a wonderful listener on a stage can create magic without a word being spoken.

The rest of the cast each bring something special, namely lots of laughs.

Jocelyn Ridgley, who I saw last in the fantastic "Trainspotting" at Off The Wall, proved she has serious comedy chops with her tightly bound portrait of a fake German nun who eventually changes into the previously mentioned hit woman. She is the sexiest nun you will ever see.

Brianna Borouchoff, who plays the postulant, and Welter each have their moments in the sun as well.

The only disconcerting character was the rich old lady, played by Barbara Baird Zaferos, who had some difficulty with lines that another week of rehearsal might help. She also has to figure out that even broad comedy is about relationships, and she must actually talk to people and listen to them for us to believe in her.

Nobody should take this play too seriously. It’s not any kind of indictment about religion or the secrets it sometimes encourages and stimulates.

As Mother Superior says near the end of the play: "It’s important to create miracles. Even if you have to do it yourself."

Schedule and ticket information can be found at offthewalltheatre.com