Although it left a sour taste in the mouths of Steelers fans, the Tebow craze was another way of illustrating our concerns about the public vs. private observance of religious beliefs. Was the Denver Broncos quarterback's ceremony in the midst of thousands of spectators a genuine moment with his God or an empty gesture?

The reactions run from fervent support to irreverent parody, maybe a reflection of the country's conflicted views of religion, cited by the Constitution more than 200 years ago and alive and well today especially in our political campaigns.

Playwright Stephen Adly Guirgis takes the subject head on as he hunts for God in, of all places, New York's notorious Rikers Prison, where two killers savagely -- and profanely -- debate the very meaning, if not existence, of God.

"Jesus Hopped the 'A' Train" is a two-act punch in the gut that insists its audience confront those primal questions in the persons of wretched creatures who seem to find that last-minute conversion to the Christian message comes in handy when all else is lost.

In one cage is serial killer Lucius Jackson, whose initial sunny optimism derives from his happy acceptance of Jesus as his savior. Next door, a confused Angel Cruz can't find the words to the Lord's Prayer as he awaits trial in the death of a religious cult figure with hints of the Rev. Sun Myung Moon.

The young Angel plugged a Rev. Kim in the posterior because his boyhood friend had fallen prey to the Kim cult. Later, the Lexus-driving Kim died of a heart attack even though his bullet wound was superficial. No matter, the legal system deemed Angel a killer after the fact.

The chain-link cells in front of the brick back wall of the New Hazlett Theater immediately establish the tone of dehumanization that hangs over Mr. Guirgis' work. It's the creation of Douglas McDermott, one member of an impressive and talented crew assembled by barebones productions.

Founder Patrick Jordan snared veteran director Derrick Sanders and polished actors Raul Castillo (Angel), Edwin Lee Gibson (Lucius), Elena Passarello (Angel's public defender) and Leandro Cano (a sadistic guard) for the main roles. He added a talented technical crew including Dave Bjornson for outstanding sound design.

The result is compelling, professional theater that in this production outshines a few established regional companies for directing, acting and presentation.

To paraphrase a line from the Hepburn-Tracy film "Pat and Mike," there are not many plays from barebones, but what there is is "cherce."

There's a lot of contrivance in "Jesus Hopped the 'A' Train" that lands Angel and Lucius in adjoining cells, plot twists that sometimes detract from the playwright's message that morality isn't necessarily a religious virtue, despite the public show the so-called devout display.

In the case of Lucius, who killed at least eight including a child, his insistence on the value of faith is just the ravings of a homicidal maniac. Mr. Gibson's performance, ranging from cheery "Jesus loves me" happiness to the crazed stare of a psychopath on the verge of violence is exceptional.

On the other side is Angel, whose faith has been shattered and who follows his cynical lawyer's plan for acquittal even though he's guilty. Where do God's commandments apply here? Mr. Castillo plays the conflicted young man with equal parts of anger and despair.

Ms. Passarello and Mr. Cano in supporting roles give us contrasting views of the main characters that raise questions and make the play more interesting. Mr. Jordan also contributes a small yet telling performance.

"Jesus Hopped the 'A' Train" is bumpy ride that could offend some in its challenge to established religion, but it reassures fans of live theater that the year on the Pittsburgh stage is off to a rousing start.