Grammy-winning gospel veteran Donald Lawrence has lent his unmistakable musical gift to a new New York stage production called Oh Happy Day!, providing original gospel songs for Jordan E. Cooper’s reimagined take on the Noah story at The Public Theater from October 2–26, 2025. Lawrence’s involvement has thrust Christian songwriting into the theatrical spotlight, and conservatives ought to pay attention when sacred art is repurposed on downtown stages.
Lawrence has long drawn on Scripture in his work, and interviews show he approaches songwriting as a ministry as much as a craft, insisting that faith and music can carry complex spiritual truth in ways words alone cannot. That earnest devotion is why it stings to see his gifts used in productions that explicitly reshape biblical stories to fit contemporary cultural agendas.
Oh Happy Day! itself is framed as a modern, Black, and queer retelling of Noah’s Ark that blends spiritual themes with a progressive social message about identity, forgiveness, and generational trauma. Critics and reviewers have been frank that the play centers a queer protagonist and uses gospel-style music — including Lawrence’s songs — to push a narrative many traditional Christians will find uncomfortable.
There is a stark cultural irony here: gospel music, born in churches and wired to Scripture, is being harnessed by New York theater elites to normalize a sexual and theological reinterpretation of sacred stories. Audiences who cherish the biblical foundations of gospel music should be aware that this production intentionally melds gospel style with modern, progressive themes rather than offering a straight devotional experience.
At the same time, it’s fair to recognize Lawrence’s artistry; reviewers note his songs carry deep emotional weight and often sound timeless, a testament to his talent and the spiritual roots of his work. But talent does not exist in a vacuum, and when an artist of faith collaborates with projects that openly reframe Scripture, conservatives must ask whether our culture’s institutions are pursuing truth or merely aestheticizing religion for ideological ends.
This episode is illustrative of a larger trend where major cultural platforms repackage elements of Christian worship to serve secular narratives, and then label the result “inclusive” or “modern.” Taxpayers and theatergoers alike deserve transparency about how sacred traditions are being used, and Christians should not be surprised to see their music and symbols co-opted by stories that depart from biblical teaching.
True supporters of gospel music and Scripture will continue to celebrate Donald Lawrence’s gift while also urging him and other artists to consider how collaborations shape public perception of the faith. If hardworking Americans want faith-centered art that honors Scripture, we should support venues, artists, and ministries that refuse to let our sacred songs be repurposed as props for secular agendas.
