Each of the scenes set up the idea of humans looking for God by postulating (sometimes humorously) on how, exactly, things are run up there. "Lifeline," for example, presents the bureaucratic tech support line that is God’s phone number. It’s a great concept, as the caller (Jonathan Manos) is a man who simply wants reassurance of his faith; he has to hit a succession of numbers to make his way up the chain of command to the Judeo-Christian God’s answering machine. Other voices are supplied by Bolen High and Jackie Enright, who really overleaps the boundaries of questionable accents.

"Duty and the Priest" stars Dean Marazzo as a reluctant priest who leaves his confessional duties to a janitor (Steve Montague), who in turn must hear the long list of grievous sins committed by the rich confessor (James Napoli). The jokes are too obvious as written, with a predictable twist at the end, and the actors play it far too over the top for it to be effective; a subtler approach would have served the material better.

In "Scapegoat," Bob Senkewicz plays Sam Gordon, a traffic reporter who dies, never having become what he always wanted to be: a journalist. He goes to hell and meets a Macintosh-using Lucifer (Jim Williams), who sets him straight on how God and the Devil really run things above and below. This scene consists of longer monologues, and Senkewicz, who has a Gabe Kaplan quality, has a great delivery and piques an interest in the character above the more obvious jokes. Williams is a dynamic Devil.

While "Scapegoat" goes on a bit too long, perhaps, it at least attempts to develop its characters and touches on some more poignant issues of belief and the responsibility of being human. It’s in sharp contrast to the third skit, "God the Father," which presents God (Cinnante) and Michael (Marazzo) as the Godfather and the Muscle in a theological mafia. It’s Christmas, and the Godfather is receiving tributes for His son’s birthday from Zeus, Dionysus and the other "family" of Greek Gods. Some of the banter in the middle of the scene could easily be excised, but this is a funny and interesting concept for parody with a use of Italian slang that rivals The Sopranos. Marazzo responds much better to this material: he looks the part, a big guy in a wife-beater and wings, with a sword in his belt instead of a gun. He and Cinnante keep the pace up and act this scene with vigor.

"God the Father" would be an excellent ending to Tower of Babble, which is unevenly written by Joseph Sikorski and Michael Calomino and similarly directed by Sikorski, but the last installment of "Lifeline" tries to finally give the caller the answer he’s seeking. The three main skits are better as the play moves along; "Lifeline," unfortunately, grows less interesting and more saccharine with each part. "Never stop evolving," says Lucifer to Sam in "Scapegoat," and that’s good advice for the creators of Tower of Babble.