See it if you want to see a bold new work beautifully realized by a talented cast and crew.
Don't see it if you need a linear storyline, do not enjoy new work, or need clear messaging.
See it if you'd enjoy some great powerful joyful moments of singing and celebration. Unfortunately interspersed with obscure and esoteric scenes.
Don't see it if you'd enjoy a more cohesive show. Soaring momentum too often squelched by puzzling scenes and rites that follow. But overall enjoyable.
See it if you appreciate gospel music and strong performers you enjoy the conceit of a church service
Don't see it if you dislike choreopoems/narratives you want a completely realized work
See it if You want a contemporary off broadway theater experience that has fun with itself, easy to watch, different from anything you’ve seen.
Don't see it if You have angst against church.
See it if you want an immersive theatre experience that focuses heavily on historical issues and relationships with faith and your own identity.
Don't see it if you like a traditional proscenium auditorium format, or if you don’t like shows that discuss deep, historical issues or that tackle faith.
See it if You like black experimental theatre. If you like the exploration of spirituality or religion. If you like audience-interactive shows.
Don't see it if You like traditional stories with a beginning, middle, and end. If you don't like audience-interactive shows. Read more
See it if You want to immerse yourself into the African American Church on any Sunday. The stereotypical Black women characters reflect integrity.
Don't see it if You are uncomfortable with being confronted with spiritual themes of being transformed by the renewing of your mind✝️ Read more
See it if You would like to attend an emotionally sweeping and musically rapturous performance in service to, and in praise of Black womxn.
Don't see it if You would not like to attend an emotionally sweeping and musically rapturous performance in service to, and in praise of Black womxn. Read more
CRITIC’S PICK: “...Douglas’s writing sometimes pales in comparison, lacking the same polish and panache. And there are some missed notes: ‘(pray)’ feels more anchored within the distant and recent past, lacking firmer context in the present, and despite the production’s inclusive language around gender, queerness is only occasionally alluded to.”
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“It’s important to acknowledge my distance from this material–I recognize that, as a white person, I am an outsider in this space and it was not made with me in mind. Several Black women in the audience around me were moved to tears. Though I had some struggles with the material, I’m happy that ‘(pray)’ can be an emotionally rewarding and cathartic experience for many.”
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"Aided by the jazzy, insinuating music by Busby and JJJJJerome Ellis and some rafter-rattling voices, an explosively joyous atmosphere is cut with more melancholy notes...If (pray) isn't an unalloyed success, it is an original that comes with plenty of crowd-pleasing features and shines a striking light on where some Black theatre artists are headed next."
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douglas’ church is almost utopian in its design in that it welcomes all with no judgment…even the “mixed company” of whites present at the service who might be startled by how genuinely euphoric the service is. Her choreography, like her direction, is empowered by a true spirit of celebration, reminiscent of the great Alvin Ailey masterwork, "Revelations."
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[the creator] wants to make a point about Black women’s search for spirituality in an America hostile to their well-being…. But the ambiguous injection of a (political?) point into what’s promised as a spiritual experience doesn’t completely work, undermining what is most satisfying about “(pray.)”... It’s beautifully costumed, gorgeously lit, energetically performed by a talented ensemble. A highlight is the original music by S T A R R Busby
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