During a 75-minute performance, a group of women engage in a 17-part liturgy, accompanied by pianist Darnell White and singer S T A R R Busby, whose powerful voice leads the uplifting gospel numbers. The church setting features a partially hidden forest in one corner, and occasionally, a silent figure dressed in white emerges, performing ethereal movements. This mystical character, known as the Ancestor and portrayed by Satori Folkes-Stone, also conducts offstage rituals as part of the service. Another woman named Free, played by Amara Granderson, questions whether this is indeed a church and if she belongs there.
Similar to Aleshea Harris’s “What to Send Up When It Goes Down,” douglas’s “pray” is a theatrical piece that invites the audience to immerse themselves in a collective experience of Black culture. In these experimental works, theater is a communal affair from beginning to end.
douglas’s script aims to make faith more accessible by utilizing clever translations. For instance, “ghost” becomes “most,” and “hallelujah” is transformed into “yahleloo.” The blending of these words with the music composed by Busby and JJJJJerome Ellis tricks the ear into fluency, so that phrases like “O, abundance! May I meet you. May I know you” feel as authentic and traditional as the Apostles’ Creed.
The Sisters deliver improvised gossip and judgmental remarks, occasionally poking fun at the audience in a hilarious manner. Their harmonized voices and synchronized movements, which draw from various styles like hip-hop and Afro-Cuban, remind one of the talented ensemble in Heather Christian’s 2022 hit, “Oratorio for Living Things,” presented at Ars Nova. Each Sister sings with her unique textured style, giving the performed psalms a distinct, tactile quality. Tina Fabrique captivates with her dynamic vocals in “A Song (For to Ease My Troubled Mind),” while Ariel Kayla Blackwood, portraying Sister Anna, adds Noname lyrics over a powerful beat. Mikaal Sulaiman’s ethereal sound design enhances the vocal performances.
douglas’s script draws inspiration from a rich array of thinkers and artists, with references to poets Tyehimba Jess and Raych Jackson. However, the writing occasionally lacks the same level of polish and flair. Some elements feel disconnected, as “pray” is firmly rooted in the distant and recent past without providing sufficient context for the present. Although the production embraces inclusivity in its language regarding gender, references to queerness are only sporadic. The play subtly alludes to the history of racially motivated attacks on Black churches, such as the 1963 Birmingham bombing and the 2015 Charleston shooting, using haunting sounds of a helicopter overhead, but these references feel more like footnotes.