In Baldwin's play, religion emerges as a pivotal motif, weaving its way through the narrative. The opening seventeen pages are devoted entirely to a vibrant Sunday morning sermon, passionately delivered by the resolute pastor, Sister Margaret Anderson. Baldwin, drawing from his own youthful days as a minister, infuses these scenes with authenticity. He sought to transport the theater audience, enveloping them in the palpable energy and fervor of a real church service.

As the play unfolds, the influence of religion on Margaret’s life becomes a subject of scrutiny and debate among the characters. Though Margaret dons the guise of a devout, pious woman forsaken by her husband, others argue that she has wielded religion as a convenient shield to evade worldly troubles. It is Luke who ultimately challenges Margaret’s perception, urging her to see that religion and human love are not adversaries but harmonious partners. Only through the profound loss of her son, her husband, and her congregation does Margaret begin to grasp the wisdom in Luke’s assertion. Her closing address to her congregation resonates with her newfound insight.

While not the play's most prominent theme, the shadow of poverty casts a long and somber light over the lives of its characters. Margaret sharply criticizes Brother Boxer for accepting a job as a liquor delivery driver, condemning his role in providing spirits as sinful. In contrast, Sister Boxer stands her ground, lamenting that Margaret turns a blind eye to the necessity of making ends meet and sustaining one's family. The harsh economic realities, particularly the scant employment opportunities available to African-American men during that era, push Brother Boxer to grasp at any job he can secure.

Poverty also weaves its tragic threads through the history of the play, touching on the sorrow of Margaret's infant's death, long before the events on stage unfold, and the loss of Mrs. Ida Jackson's baby. These heart-wrenching losses are attributed to the cruel grasp of poverty, leading to malnutrition and potentially inadequate medical care. The play subtly hints at the limited job prospects for African-American women, as one character mentions her work as a maid in a white household. Although no white characters appear in the play, the black community’s struggle is laid bare against the backdrop of racial inequality, where African-American women find themselves confined to servile roles, and men must accept whatever employment they can find.

Many critics have observed that a recurring motif threading through Baldwin’s fiction is that of love’s enduring presence. In his "Notes" for the play, Baldwin reveals that the first line he penned was Margaret’s poignant confession in Act III: "It’s an awful thing to think about, the way love never dies!" Throughout much of the play, Margaret has mistakenly replaced the love for her own husband with her fervent devotion to religion. Despite Luke’s unwavering declarations of love, Margaret persists in denying her own deep emotions for him.

Through Luke’s character, Baldwin portrays a woman’s love as vital to the survival of black men in a racially oppressive world. Luke’s tragic decline is intricately linked to Margaret’s refusal to offer him her love. Only in the twilight of Luke’s life does Margaret finally grasp the profound power of love: "Maybe it’s not possible to stop loving anybody you ever really loved. I never stopped loving you, Luke. I tried. But I never stopped loving you." Baldwin illuminates that although Margaret ultimately "has lost everything," she simultaneously "gains the keys to the kingdom." He suggests that "The kingdom is love, and love is selfless, although only the self can lead one there. She gains herself."