‘Saturday Church’ review: Finding salvation in unlikely places

J. Harrison Ghee wowed theatergoers in 2022 by portraying Lola in “Kinky Boots” on Broadway, stepping into the thigh-high, spike-heeled footwear previously worn by Billy Porter. The following year, Ghee made history by earning a Tony Award for “Some Like It Hot,” along with Alex Newell. They were the very first non-binary performers to receive the coveted honor.

And now, Ghee has parlayed their considerable talents into another juicy role — two of them actually — in the raucous musical dramedy “Saturday Church,” now at New York Theatre Workshop Off Broadway. The soul-stirring musical talents of the performers, some identifying as genderqueer, rival any currently found on Broadway.

In this uplifting parable of love and acceptance, Ghee dazzles as Black Jesus, a fabulous, fashionable diva who mentors a “flouncy” teenaged boy named Ulysses (the superb Bryson Battle). Ulysses is wrestling with his identity. He is caught between two worlds — his traditional god-fearing church, which he loves, and a crew of LGBTQ misfits that find salvation in the queer ballroom scene at a weekly meeting dubbed Saturday Church.

Ulysses is befriended by group members including Ebony (B. Noel Thomas), Dijon (Caleb Quezon), and Raymond (Jackson Kanawha Perry), an amiable young man who awakens suppressed yearnings deep within Ulysses.

His pious Aunt Rose (Joaquina Kalukango) chastises Ulysses for being “too much” and refuses to let him sing in the church choir, demanding he squelch his true nature. She’s his de facto guardian because his mother, Amara (Kristolyn Lloyd), is too busy working double shifts at the hospital to take care of him properly.

Ghee also portrays the sage Pastor Lewis, who advises Ulysses to “be holy” and resist evil urges. The poor boy is only confused further.

“If I want to be a part of this church, I can’t let a part of me show,” Ulysses says. “But I feel free when I’m in church.”

Director Whitney White (“Jaja’s African Hair Braiding”) has assembled a powerhouse creative team. The score is a throbbing mix of gospel, pop, ballroom, and ’90s house music written by pop star Sia (“Chandelier”), with an assist by legendary producer Honey Dijon. The book and additional lyrics are by Damon Cardasis and James Ijames (“Fat Ham”). Qween Jean (“Cats: The Jellicle Ball”) devised the flashy costumes, and the ballroom-inspired choreography is by Darrell Grand Moultrie (“Fat Ham”).

On the downside, the narrative occasionally veers into the formulaic, with predictable plot points and awkward contrivances. For example, there are two far-fetched chance meetings on the subway. Certain characters, such as Amara, are underdeveloped and register as one-dimensional. It’s no surprise when the show culminates with a triumphant, electric ballroom scene. For fans of “Kinky Boots” or the “Pose” TV series, this is well traveled territory.

Not that the predictability detracts from the poignancy.

“Now I’m gonna show you what collective love looks like,” declares Black Jesus, serving as emcee. “People come from all over the place to the ball. They come here because the love that exists here can transform the world.”

At its best, “Saturday Church” not only portrays the importance of finding your true voice in the face of oppression, but also the healing power of community. For those seeking a queer safe space in New York City, check out Art & Acceptance, a drop-in meeting for LGBTQ young adults held Saturday evenings at St. Luke in the Fields in the West Village. This program, which provides hot meals, clothing, support services, and of course, space to vogue, spin, and dip, was the real-life inspiration for “Saturday Church.”