Review: THE DRUM CLOSET at The Coterie Theatre

The Drum Closet is a deeply spiritual, urgent, and profoundly human coming-of-age story that resonates far beyond its Midwestern high school setting. A world premiere at The Coterie Theatre, the play explores identity, legacy, faith, and survival through the lens of two Nigerian-American brothers who love the drum—and must learn what it means to be Black boys in a white world determined to define them before they can define themselves.

Written and directed by Tosin Morohunfola, The Drum Closet follows brothers Timi (freshman) and Kareem (senior) as they navigate bias, bullying, and institutional power structures while competing to become drumline section leader—all in an effort to make their immigrant mother proud and stay out of trouble in a system that was never built with them in mind.

One of the most striking elements of the production is the dynamic between the two brothers. Damarion Leonhart as Timi and Parker VanMichael Jones as Kareem embody the sacred tension of siblinghood: protector and challenger, nurturer and rival. Their relationship captures an old truth—family can wound each other deeply, but no one else is allowed to. Their competition is never rooted in cruelty, but in love, aspiration, and the shared burden of expectation, both familial and societal.

Their mother, Fatimah, played with quiet power by Tobi Omodehinde, anchors the play’s spiritual core. Fatimah represents high standards, cultural inheritance, and metamorphosis—the constant negotiation between past, present, and future. One of the most moving moments of the evening occurs when she picks up a drum and reveals that their father once played before mosque, using rhythm as a language between souls. The revelation that their parents were once Muslim—and that faith itself evolved under Western pressure—becomes an open wound and an open lesson. It is a moment of truth that is both deeply personal and profoundly educational for young audiences who may not yet understand how belief systems are shaped by survival.

Ben Brewer, as Matt—the prom king and primary antagonist—delivers a chilling and timely performance. His manipulation of the slogan “Black Lives Matter,” a tactic that has become disturbingly common in 2026, underscores how language can be weaponized to dismantle reputations, derail opportunities, and silence excellence. Brewer’s portrayal strikes from every angle—academic, social, and personal—nearly stunting both brothers’ journeys on the drumline and exposing how systemic harm often wears a smiling face.

Gregory Williams shines as Steven, a character whose presence expands the metaphor of the “closet” into multiple dimensions, including sexuality and the hidden selves we all carry. Steven’s journey reminds us that society will judge us for something—if not one thing, then another. His friendship with Timi is deeply heartwarming, illustrating how marginalized groups often find refuge in one another’s struggles, forming bonds rooted in mutual recognition and shared survival.

Lauren Daugherty delivers a powerful and sensitive performance as Amy, a young woman navigating life as a survivor of sexual assault within the confines of her high school. Her portrayal captures the terrifying calculus of when—or whether—it is safe to speak. Daugherty masterfully holds space for the fear of repercussions, even when those fears may never fully materialize, reflecting a reality that many young people live with daily.

Jen Mays and Sam Wright demonstrate exceptional range and grounding presence as they navigate multiple roles throughout the production. Their performances embody the unsettling truth that adults—those entrusted with leadership, guidance, and justice—are often complicit in harm. Their work reinforces the play’s assertion that it takes the moral compass of a single spirit to point toward equity, justice, and compassion, even when doing so is uncomfortable or unpopular.

The design elements elevate the storytelling with precision and restraint. Gary Mosby, Scenic Designer, keeps the set deceptively simple, with the drum closet itself always present—moving in and out of focus as a constant metaphor. It lurks at the edge of the narrative, reminding the audience that what we hide is never truly gone.

Daniel Warneke’s sound design is crystal clear, ensuring every word lands while seamlessly weaving in Nigerian Afrobeats. These musical moments are subtle yet intentional, grounding the play in ancestral memory and honoring the spiritual lineage of the drum.

Zan de Spelder’s lighting design adds multidimensionality and emotional punctuation, shifting tone and rhythm to heighten the impact of key moments. The lighting acts almost as breath—expanding, contracting, and illuminating truth.

Matt Snellgrove’s costume design perfectly captures the aesthetic of a Midwestern high school while honoring the Nigerian roots from which the story grows. The balance is elegant and honest, never overstated.

Selby Marksbury’s video design beautifully integrates new media, particularly during the journey to Nigeria. These visual moments mirror the energy and movement onstage, offering a subtle but powerful expansion of the narrative world. The integration is seamless, thoughtful, and deeply effective.

The Drum Closet is not just a play—it is a meditation on identity, faith, ancestry, and the courage it takes to be seen. It asks young audiences to listen, to question, and to recognize that the drum is not merely an instrument, but a voice—one that calls us home, even when the world tells us we don’t belong.

“The Drum Closet” opens on January 30 and will run through February 22 at the The Coterie Theatre. Tickets are available online or at the Coterie Box Office.