“Choir Boy” Opened January 8, 2019 at the Manhattan Theatre Club at The Samuel J. Friedman Theatre

Jeremy Pope and members of the cast
Photo credit: Matthew Murphy

Tarell Alvin McCraney's “Choir Boy” premiered at the Manhattan Theatre Club’s Stage II in 2013. It is now in revival with extensive rewrites (according to the press department) in a new and impressively staged production on MTC’s main stage at the Samuel J. Friedman Theatre. The play remains compelling if still over-written and repetitious during its one hundred minutes. 

We may recall how Tom Brown bravely withstood the bullying of upper classmen during his "School Days" and how Tom Lee overcame the stigma of being a social outcast at the private school he attended with a little "Tea and Sympathy" from the headmaster's wife. Now it is for Pharus Jonathan Young (Jeremy Pope, recreating his role), the central character to stand up for who he is at the private all-black prep school that he attends.

But just how prepared for him is this prominently religious, educational institution that has yet to condone or even acknowledge sexual diversity? Although the first disarming appearance by Pharus is positioned to encourage both affection and a little benign laughter, it is the use of the "n" word by a peer as the play progresses that brings a controversial if not double standard into the fray. It is interesting to consider how little reaction came from the audience at the performance I attended this week. That, in contrast to the oohs I heard before.

Of course there is a difference when that word is used by a white person to denigrate someone who is black. It is here embraced by African-Americans who have branded it liberating by taking on its ownership in order to neutralize its original intent. What essentially isn't yet embraced as acceptable by the school's administration or its students is Pharus's sexual identity or his commendable ownership of it.
 

Our attention and interest in the talented Pharus is immediate as he steps forward to sing the traditional school song at a commencement exercise in a manner that is both stunningly effeminate and potentially incendiary. Although Pharus is the talented lead singer of the choir as well as an outstanding student, he has no intention of downplaying either his personality or his mannerisms to the disapproval of the school's head master and especially to the discomfort of his peers with whom he is obliged to get along.

The play's cleverest device is the use of Gospel music as sung a cappella at choir rehearsals as well as to punctuate dramatic scenes. The contribution made by musical director and vocal arranger Jason Michael Webb warrants high praise.
Premiered to acclaim in September 2012 at London's Royal Cort Theatre “Choir Boy” has again been crisply directed in New York by Trip Cullman. Also returning is the terrific Chuck Cooper as Headmaster Marrow, the school's authoritarian headmaster, who is convincing as a man committed to maintaining the school's traditional core values and moral principles.

Another returnee is Austin Pendleton (at his most humorously intellectual) as a teacher of Creative Thinking. The characters of Marrow and Pendelton appear like dramatically accommodating stock characters that have been wedged into the dilemmas perpetrated by the more psychologically and sociologically complex band of students. They do serve, however, as sturdy bridges over the stormy seas.

Pharus's decision to stand his ground, even as he withstands heckling and the ugly remarks of the disdainfully homophobic Bobby (a sturdy performance by J. Quinton Johnson), the headmaster's nephew.

Pope is still giving one helluva performance as the flamboyantly gay Pharus who is, nevertheless, as discreet as possible about the way he feels about his compassionate but straight roommate Anthony (a strong and sensitive performance by John Clay III.) There is an insightful scene in which Pharus locks historical and political horns with the other boys in Pendleton's classroom over whether or not escape routes were coded into the early spirituals. Pharus also serves as catalyst for the play's most poignant episode involving the quiet and unassuming David (a splendid Caleb Eberhardt) who may have to do some serious soul searching after an unfortunate encounter that fuels the climactic minutes of the play.

Director Cullman, who recently earned praise for his direction of “Lobby Hero” and “Six Degrees of Separation,” has again mined splendid performances from everyone. Set designer David Zinn has presumably more space now to create the  various locations in the school, particularly the boy's lockers and shower room and the dorm that emerge impressively from behind a wall.

“Choir Boy” will surprise those expecting the same kind of hyper-stylized dramatic form that defined McCraney's more pretentiously conceived “The Brother/Sister Plays” that catapulted him to prominence and a plethora of awards including an Oscar for Best Adapted Screenplay for “Moonlight” (adapted from his own play.) What distinguishes “Choir Boy” is its unusual and provocative central character, a young man who takes delight in himself and in defense of his sexual identity. It may prove to be an obstacle for him in creating harmony with the voices of people who may be able to shout out the n-word, but find it difficult to proclaim liberation from outdated sexual mores.

Mostly overcoming the lyrical verbosity of the text is the sheer dramatic and musical power that essentially drives “Choir Boy.” It is a reasonable price to pay for a play with a notable voice and with voices worth hearing.