The new musical “Saturday Church” which is now playing at NYTW, is based on the 2017 film written and directed by Damon Cardasis, who also co-wrote the book for this production alongside James Ijames. This quasi-jukebox musical attempts to weave the music of Sia into the storyline, but it is also only quasi-successful in this endeavor. Too often the music does nothing to advance the plot forward or help motivate or define characters, while at times appearing forced into the action. What the music does do, is energize the cast and audience and give the performers a platform to showcase their talents. The book is weak, unfocused, misguided and at times too simplistic, not dealing with the characters’ issues or conflicts, and leaving long gaps between musical numbers. These shortfalls would usually destroy a production, but this cast brilliantly overcomes the obstacles. The simple story that has been heard before has embodied an emotional sweetness and non-judgmental tone that is refreshing. There are no losers—everybody wins.

The story revolves around church-going Ulysses (a sensitive Bryson Battle), who is trying to navigate his sexual identity. His father has died, and his Aunt Rose (a stern Joaquina Kalukango) is practically raising him because his mother Amara (an underused but endearing Krystolyn Lloyd), is working double shifts as a nurse to make ends meet. Ulysses sings in the church choir but is ousted by director Aunt Rose because his mannerisms are too flamboyant.

This begins his journey of discovery, and riding home on the subway he is attacked, being victim of a hate crime. He is approached by fellow rider Raymond (a sincere Jackson Kanawha Perry), who is concerned and very interested in starting a relationship, so he invites Ulysses to Saturday Church. It is a haven for wayward and homeless teens who have been abandoned by their families that meet on Saturday.

He decides to attend and meets Ebony (a strong and vibrant B Noel Thomas), who is also grieving from the loss of her dear friend and had herself been very involved in the church until deciding to leave. The rest of the story evolves, with the usual conflicts and hurdles that arise between family, religion and self, but all does turn out well, as expected. During this coming-of-age journey Ulysses has a guardian angel in the form of Black Jesus (an incredible J. Harrison Ghee), who guides, teaches and consoles Ulysses at each harrowing turn. Ghee is just remarkable with strong vocals as they gracefully consume the stage adorned by the brilliant and sparkling costumes by designer Qween Jean.

The cast is blessed with an amazing amount of vocal prowess. There seems to be no limit to their style, range and skill. Bryson Battle makes a strong debut conquering the wide range needed to perform his songs and demonstrates a powerful baritone and silky tenor with ease. B Noel Thomas creates a fierce Ebony filled with courage and determination but always sensitive, compassionate and intelligent. The rest of the cast is remarkable, always supportive but ready to step into the spotlight when needed.

Director Whitney White keeps the action moving but should consider tightening up the book, so characters are more developed, and relationships are more defined. The streamlined and practical set is multifunctional and serves the production well, especially when enhanced by the lighting design of Adam Honoré. This new production may not be perfect—having a few flaws—but it is quality entertainment with a path that may lead to Broadway in the future. This is a church that should be celebrated every day of the week, spreading a non-judgmental message that we all need to hear at this present time.