If theology classes had been taught by Eli Batalion and Jerome Saibil, the co-creators of Job: The Hip Hop Saga, I would have studied for my Masters of Divinity. Outstanding physical feats, head bopping hip-hop beats, and lyrical rhymes that bring back Biblical times, make this Saga the most creative show currently on stage.

The production begins with MC Cain (Eli Batalion) and MC Abel (Jerome Saibil) acting as narrators, introducing the characters we are about to meet in the retelling of the Biblical story of Job. Job Lowe is the tireless General Manager of Hoover Records, owned by the almighty record producer J. Hoover (Jehovah). Louis Saphire, the VP of Finance bets Hoover that Job’s loyalty will falter if all his benefits are taken away. This wager leads to a torturous, although melodious, beating of Job’s resolved to serve Hoover faithfully. While the story unfolds, MCs Cain and Abel constantly squabble over their rhyming prowess. Eventually, MC Cain grows weary of his brother’s success and puts two bullets into his nylon-shrouded head. In the second act we find that MC Abel is recovering from his wounds in hospital and J. Hoover has been jailed for fraud. In other words, God is dead. The second half is an examination of Nihilist beliefs and Nietzsche’s philosophy, concentration on the existence of a moral code in the absence of a Supreme Being.

Saibil and Batalion are brilliant as they transform into a plethora of characters, each with a unique physicality and lyrical style. The duo’s creativity truly shines forth as they swap characters mid-scene. At one point both actors play the same role, causing a cowering Job to feel completely surrounded. This acrobatic interchange of characters makes the show a totally engrossing dance through a surreal world of circumstance.

Choreographed numbers in the show are both ridiculous and hilarious. The MCs bounce around stage stringing together basic dance moves that poke fun at the hip-hop industry and their own machismo attitudes.

While the stage is nearly barren, miming the environment allows the bursting energy of Batalion and Saibil to take centre stage. The absence of a set also lends itself to instantaneous scene changes. We are transported from an underground labyrinth of caves to the nexus of the universe in a backbeat. The lighting compliments the simple set design and provides shadowy atmosphere for the antagonists’ darkest days.

Mind-boggling rhymes laden with solid philosophical concepts makes Saibil and Batalion’s writing the greatest attraction. Unlike old government ads that used music to convince children to “say nope to dope and think before they drink”; the pair communicates their messages through a medium they are completely at home with. As a result, the MCs make teaching both the story of Job and the weighty philosophy of Nietzsche through hip-hop seem perfectly natural. Rhyming dialogue coupled with a compelling story draws us into otherwise intimidating philosophical waters. The production is an exhilarating 2 ½ hours that not only entertains but leaves us thirsting for another lesson taught by Saibil and Batalion.

From MC Cain and Abel’s funky opening prologue to the strange and wondrous conclusion atop the turntable of the universe, Job is a totally fresh and fun theatrical experience. Saibil and Batalion manage to breathe life into ancient stories and lofty concepts with great performances and brilliant writing. Although the duo questions the existence of God, there is no doubt that The Hip-hop Saga is alive and rocking.