When a Musical Blended House Beats, Gospel Power, and Unpolished Voices

“Saturday Church”: Where House, Gospel, and Theater Converge

A Musical Rooted in Film and Community

The new Off Broadway production Saturday Church draws its inspiration from the 2017 film of the same name, telling the story of Ulysses, a Black teenager navigating his sexuality, faith, and strained family relationships. Seeking refuge, he finds a welcoming community at Saturday Church, an outreach program for at-risk LGBTQ youth, while still longing to remain connected to the Sunday services of his upbringing.

Directed by Damon Cardasis — who also helmed the original film — and co-written with Pulitzer Prize winner James Ijames, the show blends traditional theater storytelling with club culture energy, inviting audiences to experience a musical that feels both like a night at church and a night on the dance floor.

A Musical Team With Club Credentials

Unlike many Off Broadway productions, Saturday Church is powered by music industry heavyweights. Sia contributes unreleased and reimagined tracks such as Sunday, House on Fire, and I’m in Here. Honey Dijon and Luke Solomon, both well-known in house music circles and credited on Beyoncé’s Renaissance, shape the show’s sound.

For Solomon, the project was a surprising yet natural step. “People never imagined I’d be involved in something like this,” he said. “But blending these worlds felt right.”

Themes of Faith, Identity, and Belonging

At the heart of the story is Ulysses’ struggle to reconcile two parts of his identity: the joy of ballroom culture and the grounding of church traditions. Director Whitney White highlights the sensitivity of this theme within the Black community, where many seek to honor both their authentic selves and their spiritual roots.

Ijames, drawing from his own experience growing up queer in the church, saw the story as deeply resonant. “It’s about making space for yourself,” he explained, noting parallels between the history of the Black church and the creation of ballroom culture as safe havens born from exclusion.

Musical Fusion: House Meets Gospel

The production consciously embraces the overlap between gospel and house music. Both traditions, as Ijames observed, are linked by shared histories — many disco and house vocalists, from Sylvester to Martha Wash, began in church choirs.

Jason Michael Webb, an award-winning composer and arranger, joins Solomon in weaving these influences together. “House, gospel, and theater all thrive on emotional release,” Webb said. “The combination invites audiences to celebrate joy that grows out of struggle.”

Sia’s Contribution and Creative Collaboration

Sia’s involvement adds another dimension to the show. A longtime ally of the trans and LGBTQ+ community, she offered unused songs and reworked older ones to fit the narrative. “I was desperate to be part of it,” she wrote, emphasizing her commitment to supporting queer stories.

The creative team carefully selected music to advance the plot, reworking arrangements to align with Ulysses’ emotional journey. Much of the score will be entirely new to audiences, adding freshness to the production.

Expanding What Theater Can Be

The show’s eclectic cast and crew reflect its spirit of blending traditions. Lead actor Bryson Battle, known from The Voice, joins Tony winners Joaquina Kalukango and J. Harrison Ghee. Ensemble members bring both ballroom and worship backgrounds, creating unexpected bridges — from praise dance to vogue dips.

For White, the goal is not just representation but reinvention. “We want to give people a new understanding of what theater could be,” she said. By merging gospel’s soul, house’s pulse, and musical theater’s storytelling, Saturday Church challenges expectations while celebrating community and self-expression.