At first glance, the dynamic ballroom scene and the solemn Christian church might seem like an unlikely pair. Yet, both offer profound community, preach messages of love and transformation, and cultivate remarkable talent. And, let’s not forget, they both share a penchant for a fabulous hand-held fan.
The new musical Saturday Church, currently gracing the stage at New York Theater Workshop, boldly champions this intriguing connection. While its story arc may feel a tad familiar, the production shines with an abundance of catchy music and electrifying performances, reminding us that theater itself can be a sacred, communal act.
Our protagonist is Ulysses, a New York City teenager whose name cleverly hints at the epic personal journey he’s about to embark on. Still reeling from the loss of his father, Ulysses (Bryson Battle of NBC’s “The Voice”) initially seeks comfort at St. Matthew’s Church. However, his vibrant spirit, deemed “flamboyant,” “flouncy,” and “too much,” bars him from joining the choir. (It’s worth noting that these very qualities are often found in many beloved gospel soloists!)
One Sunday, on his way home 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, an L.G.B.T.Q. program inspired by the real-life St. Luke in the Fields Church in Manhattan’s West Village neighborhood. Here, Ulysses finds a new chosen family, guided by the regal matriarch Ebony (B Noel Thomas) and the spirited young ‘dolls’ Dijon (Caleb Quezon) and Heaven (Anania).
Raymond’s introduction in Saturday Church comes with a jolt, a ‘whiplash’ meet-cute that highlights a recurring directness in Damon Cardasis and James Ijames’s script. (Cardasis, who adapted his film of the same name, collaborated with Ijames, the Pulitzer Prize-winning author of another Black, gay coming-of-age play, ‘Fat Ham.’) In its transition to the stage, some of the dialogue loses its nuance, leaving the actors less room to explore the vital theatrical tool of subtext.
The characters face challenges that unfortunately hit familiar, painful beats in queer narratives: rejection (masked as protection by religious Aunt Rose), physical and sexual assault, and even suicide. The show then culminates in a glittering ballroom scene, feeling as abrupt and neatly tied as a Shakespearean wedding.
While audiences may be accustomed to this cycle of suffering, Cardasis and Ijames deserve credit for tackling these ever-present issues. What truly stands out in Saturday Church is their refusal to villainize or idealize either the queer or Christian communities. Ulysses experiences misunderstanding in Saturday and Sunday church settings, yet ultimately discovers beauty and belonging in both worlds.
Bryson Battle, left, and B Noel Thomas perform in the musical “Saturday Church” at the New York Theater Workshop.
An undeniable highlight of the production is Tony Award winner J. Harrison Ghee (from “Some Like It Hot”), who brilliantly portrays two of Ulysses’s charismatic mentors: Pastor Lewis and, yes, Black Jesus himself. The latter delivers pure Whitney Houston-esque Fairy Godmother magic, adorned in Qween Jean’s lavish, shimmering costumes and Dhairius Thomas’s wonderfully dramatic fluffy twist-out wig.
Twenty-two-year-old Bryson Battle, a newcomer from North Carolina, captivates with his silken vocals that effortlessly soar. His performance is full of wide-eyed wonder and sweet charm. The sheer joy Ulysses feels as he experiments with makeup and steps into heels is utterly infectious, making his journey of self-expression a delight to witness.
Director Whitney White skillfully draws familiar energy from this talented cast, much like she did in other ensemble-driven productions such as “Liberation” and “Jaja’s African Hair Braiding.” However, at times, her stage visuals lean towards being overly literal, such as the repeated mirroring of Amara and Ebony as grieving mothers, which echoes the script’s occasional lack of subtlety.
Thankfully, White firmly controls the show’s vibrant core: its dynamic score. This powerful soundtrack draws from pop sensation Sia’s extensive catalog, alongside electrifying tracks from international DJ Honey Dijon. (I found myself scrambling to jot down notes at the rapid pace!) The pre-existing songs are enriched with lively electro-pop and rhythmic stomp-clap gospel arrangements by Luke Solomon and Jason Michael Webb, featuring lyrics cleverly tweaked by Cardasis, Ijames, and Sia. Despite their brilliance, the transitions between these musical numbers can sometimes feel a bit abrupt.
J. Harrison Ghee embodying the role of Black Jesus.
One can sense “Saturday Church” bending to accommodate songs not originally conceived for it, a common challenge for an almost-jukebox musical. Yet, gospel and pop-infused house music are undeniably perfect genres to tell this story. Thematically rich and deeply hypnotic, they both ground and liberate the audience.
The creators and music of “Saturday Church” aim for more than just entertainment; they are on a mission. They understand that, all too often, to be both queer and Christian can lead to judgment long before one’s final day of reckoning. In a political climate where civil liberties for gay and trans individuals are constantly under threat, telling these queer stories remains incredibly vital. “Saturday Church,” much like the program it’s based on, is a heartfelt and important work, rooted in two powerful forms of faith: one in the body of Christ, yes, but also bodies on the dance floor.
Saturday Church
Through Oct. 19 at New York Theater Workshop, Manhattan. Running time: 2 hours 15 minutes.