Broadway, you can say, has now experienced Amazing Grace.

Amazing Grace, a stirring new musical about the man and story behind the cherished Christian hymn, officially opened this weekend at Broadway’s Netherlander Theater.

Tony Award nominee Josh Young plays John Newton:

a willful and musically talented young Englishman, (who) faces a future as uncertain as the turning tide. Coming of age as Britain sits atop an international empire of slavery, he finds himself torn between following in the footsteps of his father — a slave trader — or embracing the more compassionate views of his childhood sweetheart (Erin Mackey). Accompanied by his slave, Thomas (Tony Award winner Chuck Cooper), John embarks on a perilous voyage on the high seas. When that journey finds John in his darkest hour, a transformative moment of self-reckoning inspires a blazing anthem of hope that will finally guide him home.

The musical’s path to 42^nd Street was itself divinely inspired.

Grace is the passion project of Christopher Smith. Smith had no experience writing songs, let alone a Broadway musical. In fact, he was a police officer in Pennsylvania when the Lord put the story of John Newton on his heart.

He taught himself music and crafted an original — if traditionally-styled — musical. It’s destination wasn’t a church, or even a faith-friendly entertainment center like Branson or Dallas. Amazing Grace made its stunning, sold-out, world premiere run in Chicago.

And now, it’s docked in America’s theater capital.

Initial reaction from New York critics is mixed. However, the fact that the reviews for the faith-based show are mixed rather than virulently aghast should be seen as a positive sign, especially in a theatrical climate that celebrates works of questionable morality at the expense of the uplifting fare that made Broadway so magical.

The New York Times opens its review by discussing the fortunate timing of President Obama singing “Amazing Grace” during the memorial service for victims of the Chattanooga church shootings. It goes on to say:

Unfortunately, while aspects of Newton’s tale are indeed noteworthy, maybe even amazing, the musical itself unfolds as an overstuffed history lesson trimmed in melodrama, with a standard-issue romantic subplot and some dutiful attempts to explore the lives of the slaves (although the focus remains squarely and maybe a little uncomfortably on the British characters).

The Times does call Smith’s score “pleasant and serviceable,” and has high praise for the singing.

Variety‘s review states in bold lettering at the top that “ye of little faith will find it tough sledding.” But reading the actual review, Variety praises the singing, acting, staging, set design and choreography, and, like the Times, calls the score “serviceable.”

The New York Post agrees with Variety in that the musical “doesn’t fully commit to either the story’s gray areas or the full extent of its horrors.” In other words, it wasn’t dark enough for the critics’ tastes.

However, the Post lets slip the musical’s power when describing the finale, which closes with the title song. “However awkward or heavy-handed the proceedings are up till then, ‘Amazing Grace’ doesn’t fail to draw tears.”

Hear and see for yourself some of what audiences are experiencing with Amazing Grace.

For those who complain about a lack of quality, major, faith-based entertainment, Amazing Grace provides a golden opportunity to prove to Broadway there is a large audience for productions that do honor to God. If you’re heading to New York, plenty of seats are available.

In the end, it’s not the critics who will speak loudest whether the musical Amazing Grace will join the hymn as one for the ages.