Saturday Church at NYTW

Y’all ain’t ready for this!!!

BEST MUSICAL 2026 INCOMING

Updated On: 8/25/25 at 02:35 AM

Everyone, they’ve got super cheap tickets for this week!! Go out and buy them before word gets out!!

Updated On: 10/7/25 at 09:26 AM

I'll be in New York the week after this closes and I know one of the principals. Do NYTW shows typically extend?

Currently set to end October 12. The cast is contracted through October 29, as the 'latest closing date'. Extension will be determined after Opening, September 15.

Got my notification email for first preview tomorrow. Run time is 2 hours with intermission. Warnings for elements of homophobia and physical violence, haze, strobes, bright lights, loud noise and high decibel levels.

Kristolyn Lloyd will be leaving at some point for LIBERATION on Broadway. I assume she'll continue through opening and then leave right after.

Went tonight.

First of all the show is running closer to 2 hours and 30 minutes including intermission.

This show clearly has Broadway in its sights, it feels like RENT meets Strange Loop meets Kinky Boots if Sia had written it, although it turns out quiet a few of the songs are remixed versions of some of her older material.

The score and the costumes and choreography are great that ensemble is WORKING those dance numbers, J Harrison Ghee is a blast, Kristolyn Lloyd and Joaquna Kalukango do the best they can with underwritten parts, Bryson Battle as the lead nails the singing but leaves alot to be desired when it comes to the acting.

All of that said, seeing a musical in 2025 with a set featuring a "Black Trans-Lives Matter" poster feels radical and a show featuring three black trans characters onstage at the same time feels groundbreaking because the story is not about being trans but about who these individuals are as people first.

Right now it feels like a 7 out of 10 but there is certainly room for improvement

Updated On: 8/28/25 at 11:00 PM

Updated On: 10/7/25 at 08:31 AM

I do feel the need to reiterate for any future reviews on this thread that this is a show at New York Theatre Workshop and so the development process is active and ongoing and not necessarily reflective of any final iteration.

I went tonight and, while acknowledging that the book is bit of a mosaic of other queer musicals for better or worse - I thoroughly enjoyed it and found myself teary or outright crying at multiple points. It’s somewhere between the first season of POSE, Kinky Boots, and Everybody’s Talking About Jaime.

First of all, the production elements deserve 10s across the board. The choreography. The costumes. The lighting. All of which will leave you absolutely GAGGED. Qween Jean, Darrel Moultrie, and Adam Honore are all in their bag here and it’s worth it for that alone - especially with the ease of how Ghee is able to transform from conservative minister to Black Jesus goddess in fabulous couture like a magic trick.

The score - Sia is doing what Cyndi Lauper did with Kinky Boots - she knows her way around an absolute banger, but also took special care of the book scene moments, and thus created a very well-rounded and engaging score.

Performance-wise, this is Bryson Battle’s world and it’s certainly a hell of a stage debut. That is a voice with such range, clarity, and tone that he comes with the full set of emotions in those notes and knows how to deploy for maximum effect. Ghee makes a meal out of their dual role, though their “Black Jesus” role plays like an upgraded Lola from “Kinky Boots” (not their fault at all). Kalukango also comes in like a force as the aunt from hell by way of a road paved with good intentions. The rest of the cast - including B. Noel Thomas as Ebony - are bonkers talented and really make a very tight ensemble.

The big issue, to be expected, is the book. While it hit a lot of personal nerves from me and there were many tears, there are a LOT of loose threads being thrown about in the first act and it runs the risk of potentially losing the plot by leaving open questions for long enough that they threaten to become plot holes. Most of them are tidied up in Act II, but never fully resolved (sometimes with a throwaway line or two) and the pacing moves between them sometimes with a whiplash (I would be crying, and then quickly shift to laughter). Additionally, there is one ending detail that did not sit right with me AT ALL and I hope they cut it entirely since it cheapened then ending for me. The cast mentioned that there are a LOT of changes being made, and this was only the second preview, so I have hope for positive changes by the time they freeze and open.

Overall, definitely worth going to see, but needs a little more time to fix the book.

Ensemble1711444445 said: "Don't blame it all the book. Repetitive lyrics that don't drive story make it harder on the book writer.

"

I think the burden here tilts toward the book. It should either expand a bit (which would justify the intermission) or cut some things and remove the need for one.

We very much wanted to like this last night. Unfortunately, it is not good.

The music is fine enough. The book very cliched, with snatches of magical realism, pulling from every gay/queer trope and previous musicals like Kinky Boots, CATS: The Jellicle Ball, Strange Loop etc - and not for the better. There are a handful of snarky drag queen "jokes" that, spaced out, make you think they are better than they are. The " black Jesus " character (done quite a bit recently) is really only useful as a trio of the same "joke" of the name itself. They lyrics are extremely cliched, with obvious next-rhymes. You can see both the plot and the lyrics coming moment to moment.

The director is not capable of the material. The designers seem to all be strong but not cohesive. (love Zinn but was disappointed in this. again, I suspect director's lack of focus and inability to stage creatively). The sound being in best shape. The staging is clunky, awkward and, if there is a transition, it's a mess or non-musical. Liberation was good due to a strong cast, less in direction - that also is slightly stagnant/uncreative. This director is better with very small plays. They have no sense of musicality or working with writers to a better goal. She's not doing it.

The cast has some nice spots in Kalukango, Lloyd and Gee (doing a bit of what he always does). They are TRYING to make sloppy material and direction work and should be commended for the effort if uneven (again, director). Unfortunately, the leading player Bryson Battle (in great voice), a contestant on "The Voice", is NOT an actor. The scene work is hard to watch - even with the seasoned pros mentioned above working very hard opposite. It's either very community theater acting (not to knock it) or super melodramatic one note. The director, again, has not helped this person who doesn't have the skill. This role needs recasting and an actor/singer (he looks too old)?. He, unfortunately, makes the proceedings ever more unbelievable. Perry, the love interest, has to be interested in this character - and does the best he can despite choppy writing (abeit some flat notes vocally). The ensemble cast sounds great (primarily due to great sound design) - unfortunately, they are not great actors either. Quezon and Anania, despite looking fantastic (and dancing well) have to work a side story that never comes to much fruition and come across unbelievable. Thomas has her smart/sassy moment that land but still needs work in most of the scene work. Why does the Aunt come around in the end ?? To wear the costumers dress? Some of the costumes are solid others ... questionable lacking guidance and taste in places.

There are several members of the dancing/vocal ensemble from CATS: The Jelicle Ball that due the ballroom work/werk, but to a lesser exciting extent. The choreography is pretty basic for the genre and styles presented (including boy band).

The 1st act ends with a thud so much so we didn't know if it was over initially. This could either be cut and a 90-110 min show or use a good full rewrite and new director with musical vision.

This seemed so up our alley. Even if considered a "workshop", primarily by name alone, compared to other off-Broadway theaters (although more money goes into this with producers and the company itself) -- it lacks vital life. It feels fake and like gay life through a straight lens. Most shows at NYTW are not workshops and in much better shape. A few good beats (maybe the best thing about it) throughout the show do not a queer/drag coming of age musical make. Queer life narratives deserve better than this watered down religion vs gay narrative, often done much better. Wanted to like this ...

Updated On: 8/29/25 at 07:38 PM