Interview: Theatre Life with Kokayi
The Grammy Award nominated artist on composing the music for Mosaic Theater Company's Young John Lewis: Prodigy of Protest and more.
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Today’s subject Kokayi is currently living his theatre life as the composer of John Lewis: Prodigy of Protest at Mosaic Theater Company. The show runs through May 3rd at Atlas Performing Arts Center in their Sprenger Theatre space.
He also composed the music for Folger Theatre’s current production of As You Like It which is running through April 19th.
Kokayi is a Grammy-nominated musician, improvisational vocalist, producer, author, speaker, and multidisciplinary fine artist. A Guggenheim Fellow for Music Composition—the first emcee to receive the honor—he is also a Halcyon Arts and Nicholson Arts Fellow, and a TEDxWDC presenter.
He appears on over 60 recordings spanning jazz, hip hop, rock, and R&B, and is the author of You Are Ketchup: and Other Fly Music Tales (published by Globe Pequot).
He has taught and facilitated workshops on vocal improvisation and creativity at institutions worldwide, is a longtime collaborator and Board member with OneBeat, and has served as a U.S. State Department music emissary. As Chief Ideator and co-curator of BeatsnBeans, he explores the intersections of creativity, coffee culture, and reimagined creative spaces. A committed advocate for DC’s indigenous music, Kokayi served in multiple leadership roles within the Recording Academy, including Chapter President and National Trustee, where he helped establish go-go as an official genre within the Regional Roots category.
Kokayi is a multi-musical artist who with John Lewis: Prodigy of Protest continues to add to his already impressive and versatile list of credits. His career proves that there are some artists that can’t be defined by just one thing and that Kokayi is constantly pushing the boundaries of where his music will be heard. Grab your tickets to John Lewis: Prodigy of Protest and hear for yourself.
Kokayi is truly living his theatre life to the fullest.
How did you get interested in performing and writing music?
I started making music in the early 90’s, writing rhymes, etc. I grew tired of asking producers to make music for me and my friends were producing music, so I asked them to help me. As far was performing, I have to credit to Jim Mumford, my high school English teacher who gave me the opportunity to act and improv some scenes.
Where did you receive your training?
I was taught piano when I was in elementary and middle school and played sax in the band in middle school and when I started wanting to make records, I didn’t have any experience working in studios or producing records. My best friend from elementary school, Kenny Cox and my homie from college Sean Josiah, were both DJs and owned Roland W30s. They taught me how to make beats and sample on that workstation. My studio training came from the late great Joe Marciano, who always answered every question I had about equipment, mic choices, and recording techniques.
What was your first professional job in the arts?
My first job in the arts was stepping into the role of the head Emcee in A Rhyme Deferred, written by Khamilah Forbes and Chadwick Boseman.
production of Young John Lewis: Prodigy of Protest.
Photo by Teresa Castracane Photography.
Is Young John Lewis: Prodigy of Protest your first foray into scoring a piece for the stage?
Young John Lewis is happening simultaneously with As You Like It at the Folger, technically I finished all of the songs for As You Like It prior to starting Young John Lewis, so no it’s not my first by a week.
Photo by Teresa Castracane Photography.
When you were first given the script of Young John Lewis: Prodigy of Protest, what were your first thoughts on how you were going to score the show?
I didn’t have any thoughts at the onset. I started with the songs Psalm had a clear vision for and built what I felt worked, then as we moved along and especially after the reading at Ford’s, there was a through line regarding the contributions of black music to the American songbook or what I would consider the contemporary American songbook. The more we put the work into the room, and as the book got tighter, we were able to see gaps that needed to be filled and then created accordingly.
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production of Young John Lewis: Prodigy of Protest.
Photo courtesy of Mosaic Theater Company.
From first meeting with your collaborator Psalmayene 24 to first preview, how long was the process of composing the music for John Lewis: Prodigy of Protest?
It took us about 4-5 months.
Do you find composing music for the stage more challenging than any another genre of music?
I don’t find it more challenging, I feel there is a different challenge. With musicals there is an accepted and familiar form, with the outliers shining through but the vibes being very familiar. What I wanted to bring from creating music for clubs and radio is to see which songs could exist in that landscape, no matter the subject. The question and challenge became, “could this be a single” and if it couldn’t then I had to work harder to get it there.
Can you please tell us what upcoming projects you have for the rest of 2026 and beyond?
I still tour with other bands, so I am headed on the road with Ambrose Akinmusire’s Honey From a Winter Stone project and Anthony Tidd’s Quite Sane Project. My new record, which is an exploration in improvised music as it is 100% improvised by all musicians, will be out end of April and it’s called An Eponymous Jont. My current band and I will be at the Jazz Gallery in NYC, May 16th, and I’m headed out to start working on another play with Psalm called The People vs Marion Barry. I’ll also be in Tuscany in August teaching a class on improvisation and spontaneous composition and hopefully going on an international tour with this band later in the year.
Special thanks to Bucklesweet and Mosaic Theater Company's Publicity Consultant Brittany Laeger for her assistance in coordinating this interview.
Theatre Life logo designed by Kevin Laughon.
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