At first glance, the vibrant ballroom scene and the traditional Christian church might seem like an unlikely pair. Yet, delve a little deeper, and you’ll find striking similarities: both foster strong communities, champion messages of love and personal growth, and serve as fertile ground for nurturing remarkable talent. And, let’s not forget, both often feature a fabulous hand-held fan!
This intriguing concept is explored in the new musical, “Saturday Church,” currently gracing the stage at the New York Theater Workshop. While its storyline might follow a somewhat familiar path, the production shines with an abundance of captivating music and electrifying performances. It powerfully underscores the idea that theater itself can be a sacred, ritualistic experience.
The story of “Saturday Church” revolves around Ulysses, a New York City teenager whose very name playfully foreshadows the profound journey of self-discovery he’s about to embark on. Still reeling from the loss of his father, Ulysses (portrayed by Bryson Battle from NBC’s “The Voice”) initially seeks comfort at St. Matthew’s Church. However, he’s quickly turned away from the choir, deemed “flamboyant,” “flouncy,” and simply “too much.” (It’s worth noting that these are often the very characteristics that define many beloved gospel soloists!)
One Sunday, on his way back to his hardworking mother, Amara (Kristolyn Lloyd), and his deeply religious Aunt Rose (Joaquina Kalukango), Ulysses crosses paths with Raymond (Jackson Kanawha Perry). Raymond introduces him to “Saturday Church,” a welcoming LGBTQ+ program modeled after the actual St. Luke in the Fields Church in Manhattan’s West Village. Here, Ulysses finds himself embraced by a new, chosen family: the program’s dignified matriarch, Ebony (played by the majestic B Noel Thomas), and the youthful figures Dijon (Caleb Quezon) and Heaven (Anania).
Ulysses’s initial meeting with Raymond in “Saturday Church” feels abruptly paced, a reflection of the rather blunt script by Damon Cardasis and James Ijames. (Cardasis, who adapted his own earlier film, collaborated with Ijames, the acclaimed Pulitzer Prize winner known for another Black, gay coming-of-age story, “Fat Ham.”) In its transition to the theatrical stage, some of the narrative’s strength seems to falter, with dialogue that often feels too straightforward, almost artless. This lack of subtle complexity deprives the actors of a crucial theatrical instrument: subtext.
The play touches upon predictable, often traumatic milestones within a queer narrative: rejection (often masked as protection by the religious Aunt Rose), physical and sexual assault, and even suicide. The story then culminates in a dazzling ballroom scene, which, while visually striking, feels as conveniently resolved as a Shakespearean wedding.
While audiences may be overly familiar with this pattern of hardship, it’s fair to acknowledge that Cardasis and Ijames address real, persistent issues. What stands out as refreshing in “Saturday Church” is their refusal to paint either community—the ballroom scene or the church—as entirely good or evil. Ulysses experiences misunderstanding from both the Saturday and Sunday churchgoers, yet ultimately discovers beauty and belonging in both worlds.
A young man in overalls dances with a woman in a white bustier, black pants and silver boots.
Bryson Battle, left, and B Noel Thomas in a scene from the musical “Saturday Church” at the New York Theater Workshop.
A definite highlight of the production is Tony Award winner J. Harrison Ghee (known for “Some Like It Hot”), who captivatingly takes on dual roles as two of Ulysses’s mentors: Pastor Lewis and, yes, Black Jesus himself. In the latter role, Ghee channels a magnificent Whitney Houston-esque fairy godmother, adorned in Qween Jean’s lavish, sparkling costumes and Dhairius Thomas’s wonderfully dramatic, fluffy twist-out wig.
Bryson Battle, a 22-year-old talent from North Carolina, is a fresh face in the industry. His voice possesses a silky quality that remains smooth even as he hits high notes. His portrayal is characterized by wide-eyed innocence and a sweet, endearing charm. The joy Ulysses feels when he first experiments with makeup and steps into heels is palpable and utterly infectious.
Director Whitney White skillfully draws a vibrant energy from this ensemble cast, a talent evident in her previous works such as “Liberation” and “Jaja’s African Hair Braiding.” However, her visual staging occasionally feels a bit too obvious. A prime example is the recurring depiction of Amara and Ebony as mirrored figures of mothers united in grief, a clear visual choice that unfortunately highlights the script’s occasional lack of subtlety.
Thankfully, White truly understands the heart of the show: its electrifying score, which draws heavily from pop icon Sia’s extensive catalog, alongside tracks by the renowned international DJ Honey Dijon. (It was so engaging, I practically raced to scribble down notes during the performance!) These existing songs are enhanced with delightful electro-pop and energetic stomp-clap gospel arrangements by Luke Solomon and Jason Michael Webb, featuring lyrics subtly modified by Cardasis, Ijames, and Sia. However, the musical flow occasionally suffers from sudden, jarring transitions.
J. Harrison Ghee portraying Black Jesus (yes, that’s the Son of God).
At times, it feels as though “Saturday Church” strains to incorporate songs not originally composed for its narrative, a common challenge for what is essentially a jukebox musical. Yet, this doesn’t diminish the fact that gospel and pop-infused house music are perfectly suited genres for this story. Thematically powerful and utterly hypnotic, the music grounds its audience even as its beats invite liberation.
The creators and the music of “Saturday Church” aim for more than just entertainment; they arrive with a clear purpose. They understand that, all too often, the experience of being both queer and Christian involves facing harsh judgment. In a current political climate where the civil liberties of gay and trans individuals are under threat, sharing queer stories remains critically important. “Saturday Church,” much like the program it’s based on, is a heartfelt production built on a dual foundation of faith: in spiritual devotion, certainly, but also in the powerful, expressive movement on the dance floor.
Saturday Church
Playing through October 19th at the New York Theater Workshop in Manhattan. Running time: 2 hours 15 minutes.