BWW Reviews: Studio Theatre's CHOIR BOY is Emotionally Gripping with Heavenly Music to Boot

Studio Theatre's loyal audience is no stranger to Tarell Alvin McCraney's compelling, language-driven plays. His acclaimed trilogy, The Brother/Sister Plays - seen at Studio within the last decade - is followed up this month with Choir Boy, which proved to be a popular offering Off-Broadway at Manhattan Theatre Club in 2013 following an acclaimed run in London. In its DC premiere, it's easy to see why Choir Boy can strike an emotional chord with audiences when executed well. At Studio, a strong ensemble cast brings to life the students and educators at the fictional Charles R. Drew Prep School for Boys in an excellent way. Grappling with issues of what it means to be part of a collective, the historical, cultural and social, forces that shape identity, the challenges of growing up, and the timely topic of the bullying of gay teens, McCraney's powerful, plot-driven play is engaging to say the least.

At the outset, we meet Pharus Jonathan Young (Jelani Alladin), an enthusiastic and vocally-gifted African American teen, raised in the South, that doesn't quite fit in at his conservative, elite school (Jason Sherwood's set design and Kathleen Geldard's costume design are effective in establishing this physical and social setting and the importance of structure and tradition). His sexual identity is part of the reason he's perceived as one of the odd ones out, but other factors, including personality and drive, come into play as well. Coming to the end of his junior year, however, he's been appointed lead of the prestigious choir at his boarding school, which is a dream come true.

To initiate his time in that sought after position, he's asked by Headmaster Marrow (Marty Austin Lamar) to sing the school song - the well-known hymn "Trust and Obey" - at graduation. Though an honor to be sure, things start to go a bit awry for him there. McCraney uses the bullying incident at graduation as a catalyst for exploring the bonds the boys in the choir share and the various interpersonal conflicts at play between Pharus and several of the other members, including the Headmaster's troublesome nephew, Bobby (a confident Keith Antone), during a tumultuous senior year.

While the boys' harmonies are always tight as they take on a slew of music, things are not always as harmonious as they engage with one another and their faculty advisor, Mr. Pendleton (Alan Wade), beyond the musical realm within the confines of the school. Complex relationships, some charged by race, some charged by economic status, and some charged by sexual preference, play out in uncomfortable and not so clear-cut ways. While the story plays out in a very specific time and place, larger ideas, which are relevant to the society in which we live, inform it to a great extent.

As with his other plays, McCraney showcases his enviable talent for manipulating language in a way that makes lines of dialogue seem more like poetry "with a purpose" than a way to simply advance the plot from Point A to Point B. The language he employs is one of the strongest assets, and sets the play apart from other popular offerings that deal with similar subject matter. The comparatively less sophisticated rock musical, bare, comes to mind.

In contrast to his Brother/Sister Plays, however, Choir Boy treads a little more into after-school special, predictable territory than I'd like. Here, we cue a rather predictable scene in the prep school bathroom, which alters the course of the play and gives us one emotional climax, and another one at the end of the play between Pharus and his roommate, Anthony (a naturally gifted and believable Jaysen Wright). Still, because all of the young actors (including Jonathan Burke as David and Eric Lockley as Junior) are so emotionally honest, even the most melodramatic and predictable scenes can tug at the heartstrings of even the person with the coldest heart. The talented cast also uses McCraney's powerful language to establish an emotional arch worthy of attention no matter whether one identifies with the characters' plights or not.

While Choir Boy is not a musical in the traditional sense of the word, music does play a strong role. The songs provide a means for Pharus and others to convey deep feelings about the challenges they face and to reinforce the idea that the young men we see are bound together by a love for music despite their many differences. They are a brotherhood.

Thus, it must be stated here that Gash was successful in casting actors who could not only give performances that were realistic and emotionally true, but ones that can sing exceptionally well both as individuals and within the group. Music director Darius Smith brings out the best of these actors who sing. Harmonies are executed with the utmost of precision, but the vocals are also infused with a respectable degree of intent. Whether performing a gospel number or a pop song (Mr. Pendleton assigns the latter to help the boys learn some important lessons about themselves, their history, and each other), the music performances are simply sublime. It's always a treat to hear good voices in their most natural form and a cappella, and Studio's Metheny Theatre is a perfect place to experience that in the most intimate way.

The rich language and music, coupled with emotionally-charged acting, and a compelling story make Choir Boy one to see.

Running Time: 1 hour and 40 minutes with no intermission.

CHOIR BOY is currently playing at Studio Theatre - 1501 14 Street, NW in Washington, DC - through February 22, 2015. For tickets, call the box office at 202-332-3300 or purchase them online.

Caption: Jonathan Burke, Eric Lockley, Jelani Alladin, and Jaysen Wright in CHOIR BOY at Studio Theatre. Photo: Igor Dmitry.

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