Review: CHOIR BOY at Actor's Express

Finding the courage to be yourself is rarely easy. Finding that courage in a place where tradition, expectation, and conformity are woven into the fabric of daily life can feel nearly impossible. That tension sits at the heart of CHOIR BOY, now on stage at Actor's Express. Tarell Alvin McCraney's powerful coming-of-age drama explores what it means to live authentically when doing so comes at a cost. Along the way, it examines friendship, faith, family, masculinity, and identity through characters who feel remarkably real. The result is a production that is both deeply specific in its portrayal of the Black male experience and universally relatable for anyone who has ever felt like they did not quite fit the traditional mold.

Set at the prestigious Charles R. Drew Prep School for Boys, the story follows Pharus (Brandon L. Smith), a gifted singer who has earned the honor of leading the school's renowned choir. While his talent is undeniable, gaining the respect of his classmates proves far more challenging. As Pharus navigates friendships, rivalries, questions of faith, and the expectations placed upon him, he finds allies in his roommate AJ (Matthew Lolar-Johnson) and faculty sponsor Pendleton (William S. Murphey), while clashing with classmates including the troubled Bobby (Jontavious Johnson) and his sharp-witted companion Junior (Andrew Goodall). Guiding the young men through their successes and struggles is the Headmaster (Clinton C.H. Harris), who seeks to uphold the school's values while helping Pharus find his way.

One of the play's greatest strengths is McCraney's writing. The dialogue carries an urgency that pulls you into every conversation but never feels forced or overly theatrical. The characters speak like real people navigating real challenges. As the story unfolds, McCraney captures both the large defining moments in Pharus' life and the quieter interactions that reveal who these young men truly are.

I found myself wanting to learn even more about the history and traditions of the Charles R. Drew Prep School. The audience is given glimpses of its culture and expectations through conversations and experiences rather than extensive exposition. While that leaves some questions unanswered, it also keeps the focus exactly where it belongs: on the students trying to find their place within its walls.

At the center of it all is Brandon L. Smith's outstanding performance as Pharus. Smith brings a combination of confidence, vulnerability, frustration, and determination to the role that makes the character impossible to dismiss. Whether facing confrontation or leading the choir in song, he commands attention. What makes the performance especially effective is how relatable it feels. Even if your own experiences look nothing like Pharus', his desire to be accepted without compromising who he is resonates. Smith never lets the character become a symbol instead of a person, and his strong vocals are simply an added bonus.

The supporting cast is equally impressive. Andrew Goodall delivers both humor and heart as Junior, while serving as an effective counterpart to Jontavious Johnson's Bobby. Johnson gives one of the evening's most emotionally raw performances, creating a character whose pain and anger feel genuine rather than exaggerated. Clinton C.H. Harris brings depth and compassion to the Headmaster, balancing authority with a sincere desire to help Pharus succeed. William S. Murphey provides a reassuring presence as Pendleton, mentoring the young men while challenging them to reach their potential. Matthew Lolar-Johnson's AJ serves as the story's emotional anchor and Pharus' one true friend. The scenes shared by Lolar-Johnson and Smith are among the production's most affecting, culminating in a final exchange that is both heartbreaking and beautiful. Barry Westmoreland is equally compelling as David, portraying a young man burdened by secrets that ultimately alter the trajectory of the story.

As someone who has great memories of singing in a collegiate men's glee club, I will admit that part of me wanted even more music in CHOIR BOY. The choral moments are so beautifully performed that I found myself wishing they lasted longer. That said, McCraney uses the music intentionally, and each selection serves the story rather than distracting from it. Under the guidance of Music Director Javar La'Trail Parker, the ensemble delivers spirituals that function like an emotional chorus for the action unfolding around them. The harmonies are gorgeous throughout, but the evening's most powerful musical moment arrives with "Sometimes I Feel Like a Motherless Child." As Bobby confronts his grief over the loss of his mother and his classmates gather around him in support, the production achieves a level of emotional honesty that is difficult to shake.

Director Amanda Washington keeps the story moving at an engaging pace while ensuring the emotional core of every scene remains clear. She has assembled a cast that fully inhabits these roles and trusts them to do the work. Aliciona Strothers' choreography is used sparingly but effectively, bringing energy and urgency to key moments through dynamic movement, including traditional step-inspired sequences.

The production is equally successful on a technical level. Alexander Whittenberg and Gavin Mosier's scenic design demonstrates how much can be accomplished without elaborate spectacle. Benches are used throughout the production in inventive ways to create a variety of locations and situations. The center-stage playing area transitions seamlessly from Pharus and AJ's dorm room to the showers and beyond, allowing scenes to flow naturally. Jarrod Barnes' costume design reinforces the academy's identity through bold purple uniforms while still reflecting the individuality of each student. Lighting by Rachael N. Blackwell and sound design by Mikaela Frasier provide effective support, adding texture and atmosphere throughout.

CHOIR BOY is, ultimately, a story about finding the strength to stand in your truth even when faced with dire consequences. Actor's Express has delivered a moving and emotionally rich production that challenges, inspires, and invites reflection. You may come for the music, the performances, or the reputation of McCraney's acclaimed play. What stays with you is the humanity at its core.

CHOIR BOY, presented by Actor’s Express, runs through August 30th. Performances are Wednesdays through Fridays at 7:30 PM, Saturday at 8:00 PM, and Sunday at 2:00 PM. Tickets can be purchased online at actors-express.com or by calling 404-607-7469. Performances take place at Actor’s Express (at the King Plow Arts Center), 887 West Marietta Street NW, Atlanta, GA 30318. For more information, visit https://actors-express.com/play-page-choir-boy/

ABOUT ACTOR’S EXPRESS

Since its founding in 1988, Actor’s Express has become the preeminent hub for dynamic, provocative and consistently outstanding theatre in Atlanta, presenting work that sparks personal transformations and catalyzes community conversations. We are committed to enacting Anti-Racist and Anti-Bias principles that create a diverse, inclusive, safe and brave space for artists and audiences. Actor’s Express is located on the westside of Atlanta in the King Plow Arts Center at 887 W. Marietta Street, Suite J-107, Atlanta, Georgia 30318.

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