The title is a dead giveaway: “The Fall Of Heaven.”

Notice, it’s not called “The Fall From Heaven.”

Walter Mosley is wrestling with God as did Jacob in The Bible (Genesis 32:22-32 New International Version).

The Crowded Kitchen Players wrestle with “The Fall Of Heaven,” continuing 8 p.m. Nov. 13, 14; 3 p.m. Nov. 15, Fellowship Hall, Trinity Episcopal Church, 44 E. Market St., Bethlehem.

It’s a match made in “Heaven.” The Crowded Kitchen Players take it to the mat. The audience is the winner in this brutally funny, if obtuse, and bifurcated comedy.

The inner-city drama begins with the accidental shooting by a policeman of Tempest Landry (Will Alexander).

Saint Peter (David Oswald) at the Pearly Gates refuses Tempest entrance because of various transgressions. Tempest isn’t having any of it. He’d rather hang back in Harlem.

An angel, Joshua (Roy Shuler), who works earth-side at the Rendell, Chin and Akbar accounting firm, where he’s assisted by Darlene (Felecia White), is assigned to bring Tempest back to his senses, get him to undertake some righteous redemption and thus gain entrance to Heaven.

Tempest is tempted by Branwyn (Erica Baxter), who soon attracts the attention of Joshua, who finds Harlem life to his liking, as well.

Meanwhile, Bob (David Oswald) wants to take Tempest straight to Hell.

Mosley based his first play, “The Fall Of Heaven,” believed to be staged only once in 2010 in Cincinnati, on his novel, “The Tempest Tales” (2008). The plot recalls the plays and films “Here Comes Mr. Jordan” (1941), “Heaven Can Wait” (1943) and “Cabin In The Sky” (1943).

The play structure, too, is similar to that of a screenplay, with a mind-boggling 19 scenes in Act One and 14 scenes in Act Two. Many of the scenes are short, some with only a few lines of dialogue. This presents a challenge for director and actors.

The Crowded Kitchen Players surmount the difficulties inherent in the play.

Director Ara Barlieb rises to the challenge by using three risers to represent the some 13 different locations, augmented by a few basic set elements: chairs, a table, as well as a few props. The actors move smoothly and swiftly from scene to scene, with segues enhanced by a fine selection of recordings of blues, gospel and R&B songs.

The actors breathe life into Mosley’s words, with beautifully-nuanced, powerfully-compelling and gently-sensitive interpretations.

Central to the memorable production is Will Alexander, who seems to pour his every pore and brain cell into his performance as Tempest. He is taut one moment and relaxed the next. His countenance brings a noble bearing to the moral fulcrum: Heaven or Hell. We want to know the outcome because we believe Alexander’s rendition.

As Joshua, Roy Shuler carefully yet seamlessly crafts the arc of his character’s self-discovery. His reserve is held in check until his enthusiasm breaks through in a performance that’s a joy to behold.

David Oswald plays two sides of the same coin as Saint Peter and Bob (“the man on the bottom floor”), the latter with more relish than can be imagined. It’s a delicious turn.

Erica Baxter plays Branwyn with a nice combination of put-upon sass and loving sincerity.

Felecia White as Darlene creates a brash secretary appropriate to the script.

“The Fall Of Heaven” is a parable. It’s written in a naive style that is deceptively simple. It’s a passion play: the last temptation of man. It’s a morality play about the interpretation of transgressions based on one’s own experiences and interpretations (“We stand or fall on our own beliefs.”). It’s amusingly Dickensian (referencing “Are there no prisons?,” “A Christmas Carol,” 1843) with picaresque language reflecting the poetry of the street (“Chasing every kiss with a shot of bourbon.”).

Fascinating topics are bandied about: the concept of time, good versus evil, personal responsibility, situational ethics, racism, and socio-economic status. Following the Sunday afternoon performance that I attended, there were more questions than answers, always the sign of a good theater.