Theater has been pretty good to such biblical personae as Jesus (the superstar), Mary (who had her 2013 Testament), Joseph (of dreamcoat finery), Noah (who musicalized Two By Two), Adam and Eve (under The Apple Tree), and even Queen Esther (of The Haggadah: A Passover Cantata), but God himself has been something of an absentee on Broadway (as He is in real life, come to think of it). So when it’s time for The Lord to have his 11 o’clock number, who should play Him? Charlton Heston (well, his reanimated corpse, I guess)? Eric Clapton? James Earl Jones?

Nope. In the gospel according to TV writer David Javerbaum, the big guy is Jim Parsons of “Big Bang Theory” fame, and the show is called An Act of God which opened tonight, May 28, at Broadway’s Studio 54. Directed by Joe Mantello, the comedy has the Almighty explaining himself to two archangels (played by “SNL” alum Tim Kazurinsky and Christopher Fitzgerald).

So did the critics find rapture in this “Act of God” or did they damn it for all eternity (or at least for the upcoming summer months)?

Variety’s Marilyn Stasio found the comedy “enjoyable but unthreatening”, with “Parson’s deadpan stare and droll delivery” helping rescue the evening from its “deadly” opening monologue. She closes noting, “The challenging questions raised by Archangel Michael do save the show from being little more than a clever nightclub act — but just barely.”

The New York Times’s Charles Isherwood is a bigger believer, especially in the “divinely funny” Parsons, who brings forth “peals of raucous laughter.” Not only that, he dubs Javerbaum a “deliriously funny . . . stand-up comedy genius.” Wow.

Almost as enthused is The Hollywood Reporter’s Frank Scheck, who calls the evening “outrageously irreverent and deeply thoughtful,” if slightly overlong for “a comedy sketch stretched out to feature length.” Nonetheless, backed by “terrific deadpan comic support,” Parsons “commands the stage for 90 minutes” in a “tour de force.”

Laughing significantly less is Associated Press scribe Mark Kennedy. He notes that the play, based on assembled Tweets by Javerbaum, “seems more like a lounge act cooked up by someone who thinks his Facebook updates are totally hilarious.” He finds Christopher Fitzgerald “a bright spot” but not bright enough to save “this lame thing.”

In her ** ½ (out of ****) review, Elysa Gardner of USA Today agrees with Kennedy that the play has trouble blending “irreverent humor with social commentary,” especially in satire that can become “rather too obvious.” The jarring “tonal shifts” hurt the show, though Parsons’s “easy, knowing rapport with the audience” and Mantello’s “witty, playful directions” help make the best of things when Javerbaum lands “some genuinely funny and incisive lines.”

Newsday’s Linda Winer appreciates the show’s “light-fingered, big-hearted blasphemy” that occasionally takes on big issues “with sharp elbows,” as well as with Parsons as “delightfully directed by Joe Mantello.”

Even less converted is AM New York’s Matt Windman, who blesses the show with only two stars (out of four) and says its “very funny, very promising concept” makes for “not much of a play or even a stand-up routine.” “Long-winded and full of unoriginal jabs at common targets,” An Act of God strikes a similar chord as Fish in the Dark, as both are excuses to see TV stars doing slight variations of their beloved personae.

That’s enough for The Daily News’s Joe Dziemianowicz, though. He gives the production *** (out of five) and notes that Parsons could turn any vehicle “into a Rolls Royce.” He admits, “Some of [the play] is divinely, if blasphemously, inspired. Some is sorta tired.” But Parsons’s gifts for deadpan and “flashing the stink eye” help the “hit-and-miss” jokes that go after occasionally stale targets.

Blaspheming even further is Zachary Stewart of TheaterMania, who calls the comedy “only mildly funny” and “surprisingly risk-averse,” making it “a missed opportunity to really challenge an audience eager to go there.” Still, “Parsons is a gifted comedian, eliciting wild guffaws from ho-hum material merely by arching one of his finely manicured eyebrows.”

In her **1/2 (out of ****) critique, Elisabeth Vincentelli of the New York Post concurs. Yes, Parsons is “charming,” but the show is an “extended skit” with “static staging” and little edge.

A bit more amused is Peter Marks of the Washington Post who notes that though the script is “not always comedy gold . . . There’s something about the weary vigilance Parsons projects that gives compelling freshness to this kind of standard-issue Biblical demystification.”