'Saturday Church' is a Joyful Journey of Faith and Identity

Summary

Podcast Summary: "Saturday Church" is a Joyful Journey of Faith and Identity

Podcast: All Of It with Alison Stewart (WNYC)
Date: September 15, 2025
Episode: ‘Saturday Church’ is a Joyful Journey of Faith and Identity

---

Overview

This episode of All Of It centers around the new musical Saturday Church, which explores the intersections of faith, family, identity, and community. Host Alison Stewart welcomes director Whitney White, and actors J. Harrison Gee and Bryson Battle to discuss adapting the beloved indie film into a vibrant stage production. The conversation delves into themes of reconciliation, self-acceptance, the power of music, and the real-life challenges facing LGBTQ and trans youth.

---

Key Discussion Points and Insights

The Story and its Significance

• Saturday Church follows Ulysses, a young queer boy navigating grief, familial expectations, and the pursuit of self-expression.
• Ulysses finds solace and belonging at "Saturday Church," a real-life community space for LGBTQ+ youth.
• The musical marries spirituality, queerness, and chosen family, with music blending gospel, pop, and house.

[00:09] Alison Stewart:
“The new musical, Saturday Church, is a love letter to found family, to finding yourself, and to the power of music.”

From Film to Stage: Adapting the Story

[02:22] Whitney White on Adapting the Source Material:

• Maintained the central theme of reconciliation ("the kernel") from the film.
• Brightened the tone by allowing Aunt Rose a path to understanding and growth, providing hope.

“The film is about reconciliation, and that’s just not a theme that we dive into that much... It stuck with me that the film is about a young boy who wants to reconcile all the parts of his life – he doesn’t want to walk away from any of it.” (Whitney White, 02:27)

Casting and Personal Connections

J. Harrison Gee (Pastor Lewis / Black Jesus):

• Grew up in the church as the child of a pastor.
• Saw the hypocrisy around queerness and acceptance firsthand.

“So I know Ulysses' story very well. I mean, I got the chance to sing in church, but still I saw how people treated the queerness and the other and... watching people be hypocritical. So it was easy for me to say yes to this project.” (J. Harrison Gee, 01:53)

Bryson Battle (Ulysses):

• Making professional debut, known from The Voice.
• Spoke about the vulnerability and search for identity embedded in Ulysses' journey.

“When we meet him, he’s in a very moldable and adaptable and impressionable state... less of a victim mentality and more of just this yearning for, okay, what is right and what is wrong, what is allowed? He’s just constantly being told to kind of filter himself.” (Bryson Battle, 04:44)

Navigating Faith, Safety, and Identity

• The show depicts tension between conservative religious values and queer identity.
• Pastor Lewis, played by Gee, wants to protect Ulysses, demonstrating that intentions may be caring even if the result is limited by fear.

"Wants peace and truly, you know, wants the best and is coming from an earnest place. And sometimes religion can get in the way of that." (J. Harrison Gee, 06:14)

On being told to “tone it down” (06:46):
All guests reflected on their experiences with this message, noting it often comes from concern but can limit authenticity and cause harm.

"There are many rooms to this day, I feel I'm told to tone it down, whether implicitly or explicitly... Do I give in, or do I just kind of bravely or as best I can be myself?" (Whitney White, 06:46)

Creating Empathy and Hope

• The creative team avoided villainizing Aunt Rose, opting to depict her with empathy, reflecting the reality that love and fear can clash within families.

“Reconciliation is not possible without empathizing with both sides... I can’t villainize anyone I love.” (Whitney White, 09:17)

Spirituality and Inner Strength

“Black Jesus” (Gee) guides Ulysses toward self-acceptance:

“The power lies within. It’s always been there. You were birthed with it. Now trust that thing within you and fly again.” (J. Harrison Gee, 10:18)

Music as Identity and Anchor

• Music is central to Ulysses’ story and to the show’s emotional core—serving as Ulysses’ “safe haven.”

“Music being an anchor for Ulysses and his voice being something that feels so like, truthful to him and that being really secured in the church in a way...” (Bryson Battle, 12:18)

• The music, crafted by Sia and Honey Dijon (with creative, genre-blending input from the musical team over several years) enables the story to communicate both joy and pain.

“Music is like clay. You know, you can form it, you can shape it... and thankfully, we did.” (Whitney White, 13:42)

Joy, Danger, and Realism

• While the show is suffused with queer joy, it does not shy away from harsh realities: homelessness and violence faced by trans kids.

“A lot of times... we’re not talking to [youth], we’re not reflecting reality to them as they experience it... In the theater, we are reaching for truth. And you can’t do a show about this community without looking at physical violence, sexual violence, things that people encounter every day.” (Whitney White, 18:41)

• Despite these dangers, Black queer joy is front and center.

“To be black queer joy today, in this moment and in this time, is something I actively pray for... It’s a blessing.” (J. Harrison Gee, 20:04)

Personal Growth and Creating a Welcoming Space

• Bryson spoke about trusting himself as an artist thanks to the welcoming creative team.
• The show encourages audience participation and energy, striving for a sense of communal catharsis and connection.

“The more energy you give us, the better experience you get. And so to get to say, hey, talk back to us, let your voice be heard... and to give people permission to go out and take that energy beyond the four walls is wonderful to impact.” (J. Harrison Gee, 21:50)

---

Notable Quotes & Memorable Moments

• “Living in your truth is dangerous. It’s hard for [Aunt Rose], too. She’s stuck at this crossroad of fear and loving...” (Whitney White, 09:17)
• “Listen, don’t censor black Jesus.” (J. Harrison Gee, 15:14)
• “Fans in the hands just open clack. Why is it a queen thing?” (J. Harrison Gee as Black Jesus, 14:27)
• “Sanctuary—in music, in community, in self.” (Bryson Battle, 16:00)

---

Timestamps for Key Segments

• 00:09 – Introduction to Saturday Church’s story and music
• 02:22 – Whitney White on adaptation and core themes
• 04:44 – Bryson Battle on inhabiting Ulysses’ state of mind
• 06:46 – Panelists share personal experiences with being told to “tone it down”
• 09:17 – Discussing empathy, reconciliation, and Aunty Rose
• 10:18 – Black Jesus’ spiritual guidance
• 13:22 – Constructing the show's unique musical “soundscape”
• 14:27 – Signature performance moment and “queen” anthem
• 16:00 – Music as Ulysses’ safe haven
• 18:41 – Addressing violence, danger, and realism in the show
• 20:04 – Centering Black and queer joy
• 21:50 – Audience engagement and the show’s communal power

---

Conclusion

This episode offers an in-depth look at the heart and creative process behind Saturday Church, foregrounding both hope and realism, and celebrating the fortitude and joy of LGBTQ+ youth. Through candid conversation, moving musical moments, and thoughtful reflection, the guests illuminate why this story resonates so powerfully now—on stage and in the world.

---

For tickets or more information: Saturday Church runs at New York Theatre Workshop through October 19th.

Guests:

• Whitney White (Director)
• J. Harrison Gee (Actor: Pastor Lewis / Black Jesus)
• Bryson Battle (Actor: Ulysses)

Host: Alison Stewart

---

“It’s easy to just assist, to be that shepherd to the sheep... to lead me to my destiny, to what was created for me.”
— J. Harrison Gee as Black Jesus (15:25)

Transcript

[A]

This is all of it on wnyc. I'm Alison Stewart. The new musical, Saturday Church, is a love letter to found family, to finding yourself, and to the power of music. The story follows Ulysses, a kid in the midst of grief. His dad has died, his mom is working the graveyard shifts as a nurse, and his aunt Rose won't let him join the church choir even though he has an amazing, amazing voice. She says his mannerisms are too much, and the pastor wants him to tone things down. But that's just who Ulysses is. He can't understand why the people in his life won't accept him as he is until one day he encounters Saturday Church, a weekly meetup for LGBTQ youth who need a hot meal, a place to rest, maybe a sense of community. There, Ulysses finds his voice, his style, even finds love. But can he reconcile his newfound confidence with his FAI and with his family? Saturday Church features music and lyrics by Sia, with additions of music by Honey Dijon. The sound is a mix of gospel, pop, and house. It's directed by Tony award nominee Whitney White. It features Tony winner J. Harrison Gee as both the conservative pastor and a fabulous black Jesus. More on that in a minute. And Bryson Battle as Ulysses Saturday Church is running at the New York theater workshop through October 19th. We are so happy to have you in studio. Thanks for coming in.

[B]

Thank you for having us.

[C]

Thank you for having us. So happy to be here.

[A]

So you're coming off your big Tony Nguyen for Some Like It Hot. Why did you decide to join this production as your follow up?

[C]

Well, this is just an extension of who I am and my experience. I grew up in church. My dad was a pastor.

[B]

Oh, really?

[C]

Yeah. So I know Ulysses story very well. I mean, I got the chance to sing in church, but still I saw how people treated the queerness and the other and. But also while watching people be hypocritical. So it was easy for me to say yes to this project.

[A]

This is based off a 2017 movie. Whitney, what were some aspects of the film that you knew you had to nail on stage? And then what were some aspects that you had to let go of?

[B]

This is a wonderful question, because adapting anything is all about those choices. And for me, the film is about reconciliation, and that's just not a theme that we dive into that much. We're always looking for drama or trauma or pain. And it stuck with me that the film is about a young boy who wants to reconcile all the parts of his life he doesn't want to walk away from any of it. So I knew that that kernel had to be in the show. It was a key principle of the show that we had to maintain in the musical. And then I think things that we shed, you know, we talked a lot about what kind of obstacles Ulysses had to encount. You know, how deep did we have to go into those obstacles? I don't want to give too much away, but there is light in the story, and there is dark, and we wanted aunt Rose to shift. We wanted her to be able to reconcile with him, to give people hope for the future. So that was a big shift from the film that, thankfully, the writers were open to.

[A]

So, Bryson, you're making your professional debut. I am so exciting. Now people are thinking, like, I know that name. It's from the Voice. Yeah. Gonna play a little bit of your audition from the Voice. Got a million views on YouTube. Let's listen.

[B]

Oh, my God.

[D]

I've been so many places in my life and time.

[A]

Okay, I'm awake.

[D]

I've sung a lot of songs.

[A]

There it is. There it is. There it is.

[B]

I'm done.

[A]

What do you think when you hear that?

[E]

I think I was, like, a very different person back then. I was like. I remember being so hyped up on nerves that entire day, but I remembered being so validated in that moment. It's that moment of you honing your craft for super duper long and not necessarily knowing how other people are going to receive it. And so to get the response that I did was incredibly fulfilling and, like I said, incredibly validating.

[A]

All right, now that you're professional, when we first meet Ulysses, where is he in his life? What's important to him?

[E]

Oh, my goodness. He is coming off of the loss of his father and being in a very vulnerable state in his life. He is very impressionable and very, like, just trying to find his place in the world, but also feeling very alone in that. And so when we meet him, he's in a very moldable and adaptable and impressionable state. And I think that is what's so interesting about this version of Ulysses, especially in comparison to the movie. I think there's less of, like, this victim mentality and more of just, like, this yearning for, okay, what is right and what is wrong, what is allowed, what is. Like, he's just constantly being told to, like, kind of filter himself. And. But then in other spaces, he's allowed to just be and exist. And so those two things, like, conflicting and him, like, internally battling with those things and also, like, battling with them externally from these two different forces. We meet him in a very impressionable.

[A]

State for half the show. You play Pastor Lewis from the church, and you encourage Ulysses to be holy, to choose the light, asking, is it worth it? What do you think the pastor wants for Ulysses and his family?

[C]

Safety.

[A]

Yeah. Right.

[C]

Wants peace and truly, you know, wants the best and is coming from an earnest place. And sometimes religion can get in the way of that. But if we trust faith and beyond, we can really expand and go to a limitless way of thinking.

[A]

This is a question for all three of you. I'm gonna ask you to start. Whitney, has there been a time in your life when you were told to tone it down?

[B]

Yes. Yes. I identify and present as a black woman. And there are many rooms to this day, I feel I'm told to tone it down, whether implicitly or explicitly. And you have a choice when you face those moments. Do I give in, or do I just kind of bravely or as best I can be myself? And I think you should just keep trying to be your little self. It gets easier each time. I would say, too, like, every time you. You get over that little hurdle, it gets easier to do it the next time.

[A]

What's been your response when someone has said, g, tone it down.

[B]

That's it.

[C]

I used to go along to get along, but now it is. I laugh. And truly, it's even the people I love the most. My mother is my everything, but getting her voice out of my head a lot of times when making choices is something I'm still doing.

[B]

Mm.

[A]

How about for you, Bryson?

[E]

I have definitely been told throughout my life to tone it down in so many different ways, and I think in very similarly to the show, it comes from a place of fear and out of wanting your child to be safe. And I think the more that I like, grow up and start to distance myself from my family and just becoming more of an individual and my family being able to see, like, oh, the world is changing, and it's not as, like, scary as when they were younger. Even though there is a lot of danger in living in your truth, I think that freedom and that I can't find the word for it, but the freedom that comes with living in your truth is a lot more fulfilling than living in that fear.

[B]

Yes.

[E]

Yeah.

[A]

My guests are director Whitney White and actors Bryson Battle and J. Harrison. G. Did I get it right?

[B]

Yeah.

[A]

We're talking about the new musical Saturday Church, about a kid struggling to reconcile his faith and his identity. It's running at the New York theater workshop through October 19th. Something that was so important that you said was that you didn't want to sort of villainize Aunt Rose, that she's really someone that we should understand. Why did you choose to go that route?

[B]

Because reconciliation is not possible without empathizing with both sides. And I can't villainize a woman I know and love. And I know many aunt roses in my own family and life, and they are trying to act from a place of love and protection, and that comes out sometimes a harsh or painful way. I can't villainize anyone I love. And I love Aunt Rose, and I even love her when she's at her worst because she's real. And Bryson just said, living in your truth is dangerous. It's hard for her, too. You know, she's stuck at this crossroad of fear and loving, and the musical's trying to push her past the fear a little bit.

[A]

One of the characters Jay, you play is black Jesus, and she's kind of a guiding force for Ulysses. She's fierce. She's very busy.

[C]

Yeah.

[A]

First of all, yes. Okay, let's get that out. What does she want? To help Ulysses understand about himself.

[C]

Better to really understand that the power lies within. It's always been there. You were birthed with it. Now trust that thing within you and fly again. It's that filtering of everybody else's voices in your life and in your head and really standing 10 toes down in who you were created to be. It's something my acupuncturist said to me that I carry with me all the time, walking in your primordial covenant, the agreement you made to God before you came to this earth. And black Jesus is that reminder of. Hey, hey, hey. Remember when you were a thought before you got here? Go back to that trusting and that knowing.

[A]

I have to ask you. It must be quite a turnaround to get you from the pastor to black Jesus backstage. Could you explain that a little bit? Because I was my friend, my very smart, bright friend, and I told him that's the same person.

[C]

It amazes me that a lot of people are so, like, they're confused. I mean, just gagged. And there are times backstage where there are, like, three people working on me at one time just to, like, make a change happen. But I love the challenge, and I love the flow and the choreography of it all, how we found it.

[A]

We're talking about Saturday church. It's playing at the New York theatre workshop through October 19th. We'll have more after a quick break. This is all of it. You're listening to all of it on wnyc. I'm Alison Stewart. My guest in studio are actor Whitney White. Excuse me, director. You're an actor too?

[B]

Sometimes, yeah.

[A]

Last time you were here.

[B]

I know. It's weird.

[A]

Director Whitney White as well as actor Bryson Battle and J. Harrison g. We are talking about Saturday church at the New York theater workshop. Bryson. Ulysses, he doesn't want to give up the church. Why doesn't he want to give up the church?

[E]

I think it comes from a genuine place of love and acceptance. I think that's where Ulysses, like, feels truly, like, drawn in as well as musically. We talked about that a lot, too. Like, just being, like, music being an anchor for Ulysses and his voice being something that feels so, like, truthful to him and that being really, like, secured in the church in a way. I think his genuine love of the church is what keeps him grounded and what makes the interactions with black Jesus so impactful. Yeah.

[A]

Whitney. The music is a mix of so many things. The lyrics are about faith and about grief, self discovery, chosen family. There's gospel. There's pop music. There's a lot to figure to configure in this. As a director, how did you make sure all of these elements were working in harmony?

[B]

I have never worked with a team that worked so hard to answer that very question. And I have to give a shout out to Jason Michael Webb and Luke Solomon. I had two music supervisors and a music director, Dia, and the three of them, it took many years to do that.

[A]

Oh, interesting.

[B]

It really did. And the level of invention and molding of the music I think would shock people. Where the music started versus where it's landed today on stage. And Bryson was a part of many, many workshops, and. And it really was amazing. Music is like clay. You know, you can. You can form it, you can shape it. You can do a lot to it if you have the right team members with the right ability. And thankfully, we. We did. We do.

[A]

Your character is also the emcee for the evening. Let's listen to a little bit of a track, and we can talk about it on the other side. Are there any queens in the house? This is from Saturday church, official concept album. Let's roll it.

[C]

Can I talk to y' all about something tonight? The thing about love, the thing about loving somebody, no matter what kind of love, once you've done that, once you've given yourself over to the sensation, to the responsibility of love, you can never be the same. That's what it is right there. That's what the Preacher would say, can I get an amen? I said, are there any queens in the house? Fans in the hands just open clack. Fans in the hands just open clack. Why is it a queen thing? Why is it a A queen thing? Fans in the hands just open clack. Fans in the hands just open clack.

[D]

Why.

[A]

The beep is iconic. Oh, my God.

[B]

Oh, my gosh.

[A]

I had to wait for the beep.

[C]

Listen, don't censor black Jesus.

[A]

What do you see as your role as the guide in this journey?

[C]

An anchor, something to hold on to. A light, A guide that's, you know, that is who Jesus is. A lamp into my feet, a light into my path to lead me to my destiny, to what is built for me and what was created for me. And so it's easy to just assist, to be that shepherd to the sheep.

[A]

Yeah. Bryson, One thing we know about Ulysses is he has an amazing voice. What does music mean to him?

[E]

I think music is a safe haven for Ulysses. I think no matter what he is going through internally or externally, he can find solace and sanctuary in music. I think in when he is singing, when he's not singing, but music is around him. Even those moments, he feels connected in some way.

[A]

We're gonna play brick by brick. What's going on with Ulysses when he sings this song?

[E]

He has just been introduced to Saturday church, and it's his first time there, and he's being asked about himself for the first time, which being someone who hasn't necessarily had a community this beautiful and this welcoming, he's really going through, like, what it has been like to be him. Yeah.

[A]

This is brick by brick.

[D]

I've always been a loner, baby or it's a lie that I tell myself when I take a phone call maybe, but I let it go to voicemail looking for connection and that's right But I'm stuck in these four walls looking for connection Paralyz Longing for the sound of your voice Longing for the sound of your voice Longing for the sound of your voice your voice brick by brick can you break these walls down? Can you break these walls down? Can you break these walls down? Beat by beat I can see the light now I can see the light now I can see the light now I'm trying I'm coming one day at a time, baby One day at a time I'm trying I'm trying one step at a time.

[A]

That'S brick by brick from Saturday church. I want to talk about in the show how to. How there's so Much joy in the show, but you also have to deal with the reality of the dangers facing trans kids. So, Whitney, you know, there's scenes of violence, scenes of homelessness, of potential danger. What did you and your creative team want to make sure? Why did you want to make sure those weren't sugar coated?

[B]

Yeah, thank you for the question. We live in New York City. You know, we read the same headlines that your listeners that lots of people read. And I think that a lot of times with young people, with youth, we're not talking to them, we're not speaking truth to them, and we're not reflecting reality to them as they experience it. And so then there's a loss of trust. And it felt really important when depicting this community with so many young, beautiful, brave souls to depict what really happens. I work with an incredible fight choreographer who taught me something. The last show we worked on, it's like, there's reality and there's truth, and in the theater, we are reaching for truth. And you can't do a show about this community without looking at physical violence, sexual violence, things that people encounter every day. And if we don't deal with that, then we will lose our audience's trust. Oh, interesting. So that's how I saw it. And also, I want to memorialize these people that lose their lives to violence. And it's something close to my heart, and so I didn't want to skip over it.

[A]

Jay, there are so many moments of joy in the show. What does it mean to you to be part of a show that showcases joy and beauty in the gay and trans community at this particular moment?

[C]

Oh, it's a privilege and an honor to get the. To be black queer joy today, in this moment and in this time is something I actively pray for. Gratitude with gratitude every morning that, like, oh, I get to be this right now. And I don't take that lightly. It's a part of the ministry. It's a part of the intention and the purpose that I try to live my life in, and most importantly, live with love and lead with love. So, yeah, it's a blessing.

[A]

Bryson, what is something you've learned working on this project?

[E]

Something that I've learned is to trust myself and to trust my creative team. I think being freshly graduated, this is, like, the first professional space that I've had the honor and privilege to be in. And so I was very much so, like, walking on eggshells, like, the first couple times I was here, trying not to, like, ruffle any feathers, just doing what was asked of me. And, like, not really like, allowing myself to bring the fullness of myself to what it is that I was doing. And I think the encouragement and just the space created by our beautiful and incredibly welcoming creative team has taught me how to trust myself. And that nine times out of ten, what I'm already thinking is what they're also thinking and that those thoughts and those opinions are valid and justified.

[B]

Yeah.

[A]

Jay, you have a lot of audience interaction, a lot of it. What have you noticed about the way the audience is engaging with the show?

[C]

They are feeling all of the things, and that is fun to manipulate and interact with every night. To also give people permission to engage audiences. For any show, but particularly this one, it's like, the more energy you give us, the better experience you get. And so to get to say, hey, hey, hey, hey, talk back to us, let your voice be heard. Let your energy be free. And to give people permission to go out and take that energy beyond the four walls is wonderful to impact.

[A]

The name of the show is Saturday Church. It's at the New York theater workshop through October 19th. My guests have been Whitney White, Bryson Battle, and J. Harrison. Gee, thank you for coming to the studio.

[C]

Thank you for having us.

[E]

Thank you for having us.

[A]

Let's go out on House on Fire.

[B]

Yes.

[C]

Hey.

[A]

Our state has changed a lot in the last 140 years. We know because Multicare has been here guided by a single making our communities healthier. That comes from making courageous decisions, partnering with local communities to grow programs and services, and expanding healthcare access to those who need it most. Together, we're building a healthier future. Learn more at.

[C]

Suffering from dry, tired, irritated eyes. Don't let dry eyes win. Use Sustain Pro. It hydrates, restores and protects dry eyes for up to 12 hours. Sustain Pro Triple Action Dry Eye Relief.