Adapted from Damon Cardasis’ 2017 film of the same name, that starred Michaela Jaé Rodriguez (a creative consultant and producer on the show), this exhilarating new musical at New York Theatre Workshop features a book and additional lyrics by Cardasis and Fat Ham’s James Ijames, music and lyrics from pop icon Sia, with additional music by DJ, fashionista, and activist Honey Dijon, who won a Grammy for Best Dance Album for her work on Beyoncé’s Renaissance. I’m happy to report that Saturday Church delivers on the promise of its fierce creative credentials.
At the heart of the show is a poignant queer coming-of-age story that follows teenager Ulysses (an extraordinary Bryson Battle making his professional stage debut after turning all four chairs on The Voice earlier this year). He feels invisible to his distracted single mother, Amara (Kristolyn Lloyd), who is working long shifts as a nurse to help keep a roof over their heads in New York City. He is also cared for by his paternal aunt Rose (Joaquina Kalukango) a hat-wearing, God-fearing, dedicated Church-goer who has recruited Pastor Lewis (J. Harrison Ghee, a history-making Tony-winner for their role in Broadway’s Some Like It Hot) to be a masculine role model and encourage the boy to curtail his “mannerisms”.
Ulysses is a gifted tenor and wants to join his aunt in their church choir—partly because he thinks “the robes are fabulous”—but she and the Pastor worry that he will be an embarrassment to them, himself, and the memory of the young man’s late father. “We expect the men in the choir to comport themselves in a righteous way”, the Pastor instructs, adding that he fears that his “flamboyance might be distracting”. It is not hard to read between the thinly euphemistic lines and conclude that they are both encouraging him to be less visibly gay—less himself essentially—and to try to fit into a “respectable” heteronormative mold.
Meanwhile, a chance encounter on the subway with another queer teen, the confident and charismatic Raymond (an engaging and soulful Jackson Kanawha Perry), sees sparks fly as the handsome stranger encourages Ulysses to come along to Saturday Church. It is a weekly open house at a West Village community hall, close to the Christopher Street pier, that welcomes LGBTQ+ youth, many of whom have been rejected by their biological families, are living on the street, or just feeling lost and unloved. It is a vibrant safe space of chosen family where everyone is free to be themselves, with Ulysses feeling liberated enough to express himself by wearing makeup and some glittery heeled boots, and finally to sing his heart out. That warm embrace of a welcome feels extended to the audience too.
Saturday Church is run by the matriarchal Ebony (a sensational B Noel Thomas) who is exhausted from the responsibility, as well as reeling from the death of a close friend, and wants to pass the reigns onto the messy but lovable Heaven (Anania) and Dijon (Caleb Quezon). As Raymond and Ulysses fall deeper for one another, Rose offers her nephew a way to become more involved in their home church, forcing him to choose between two worlds; one where he can be completely himself and another, where he is also loved, but has to hide his authentic self to be fully accepted.
Speaking directly to the audience at the top of the show, Black Jesus (J. Harrison Ghee dazzling in dual roles) serves as a lively MC/narrator who sets up the story and goes on to pay fairy godmother style visits to guide Ulysses on his journey of self-discovery.
Encompassing gospel, house and pop, much of the show’s pulsating music makes it hard to keep still in your seat, and the ensemble number led by J. Harrison Ghee, “Are There Any Queens in the House?”, is a monumental banger that will make you wish you’d brought a fan to clack along with. While Darrell Grand Moultrie’s beautifully expressive choreography has an invigoratingly kinetic energy to it that bursts off the stage and makes the ball scenes feel authentic. The resonant lyrics really hit too, with each number driving the narrative forward or giving us a meaningful window into a character’s inner-life, or sometimes just getting the party started, honey. With relatively spare but striking staging designed by David Zinn, Adam Honoré’s atmospheric lighting is leaned on to establish each distinctive location, while the Qween of New York Theatre™️, Obie Award-winning costume designer Qween Jean’s sublime creations really sizzle.
Under the dynamic direction of Whitney White, who earns the quieter more contemplative moments, this ensemble cast is on fire, with a star-making turn at its centre from Bryson Battle whose breathtaking voice had tears running down my face from the very first notes. He taps into the emotions of each number and brings us with him, delivering vocals that are both heartbreaking and healing at the same time. There is great chemistry between Battle and Perry, building to their brilliantly staged duet, “House On Fire” (one of several pre-existing Sia songs reinterpreted here, this one taken from her 2016 album This Is Acting), which sees the two texting one another and opening up about their feelings for each other, with Perry bringing real heart and soul to the role. It also involves some enchantingly evocative choreography by two dancers echoing the characters’ emotions.
J. Harrison Ghee is magnificent in both roles, impressing with his versatility as they bring such distinct vocal and physical choices to their determinedly masc Pastor (seemingly uptight, but with more going on beneath the surface) and commanding the stage as the femme, fabulously playful and captivatingly glamorous Black Jesus, radiating love and light, but keeping the character feeling grounded. Another standout performance comes from B Noel Thomas with powerhouse vocals, a baritone-to-soprano range, and real nuance to her characterisation, bringing a lifetime of experience with her.
Along with Ulysses’ struggle for acceptance, darker experiences surface from time to time. Raymond is engaged in survival sex work, an adult man’s apparent kindness in giving Ulysses shelter clearly has ulterior motives, and we see a menacing gang of boys attack Ulysses for being queer. There is palpable heartache there in a young man who has had to battle societal, familial, and internalized homophobia to embrace his true self. Ultimately though this is an uplifting show, electrifying at times, that chooses to focus on the light. Through a combination of the writing, direction and performances, it manages to be deeply affecting without becoming sentimental. This show really took me to church!
By James Kleinmann
Saturday Church is playing at New York Theatre Workshop (79 East 4th Street, New York, NY 10009), extended through October 24th, 2025. For performance schedule and tickets head to NYTW.org.