Hubbry Logo
Choir BoyChoir BoyMain
Open search
Choir Boy
Community hub
Choir Boy
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Choir Boy
Choir Boy
Choir Boy
View on Wikipedia
from Wikipedia

Choir Boy
Written byTarell Alvin McCraney
CharactersPharus Jonathan Young
Headmaster Marrow
Junior Davis
David Heard
Bobby Marrow
Anthony Justin ‘AJ’ James
Mr. Pendleton
Date premieredSeptember 4, 2012
Place premieredRoyal Court Theatre
London, England
Original languageEnglish
GenreDrama
SettingCharles R. Drew Prep School
https://choirboybroadway.com/

Choir Boy is a coming-of-age play by American playwright Tarell Alvin McCraney. The play premiered in September 2012 at the Royal Court Theatre, London, before going on to play productions at New York City Center, Alliance Theatre, Geffen Playhouse, and many more regional theaters across the United States. The show opened on Broadway at the Samuel J. Friedman Theatre on January 8, 2019, after entering previews on December 12, 2018.[1]

Main characters

[edit]

Pharus Jonathan Young – teen male of color, junior at Charles R. Drew Prep School for Boys. Choir lead at the start of the play. Unclear sexuality. Has been rooming with Anthony Justin ‘AJ’ James since Sophomore year.

Headmaster Marrow – Man of color in his thirties or forties. New to being a headmaster at the school. The uncle of Bobby Marrow.

Junior Davis - teen male of color, junior at the school and a part of the boys choir. He is a school legacy, but at the school on scholarship.

David Heard - teen male of color, senior at the school and a member of the boys choir. Has aspirations to become a minister. Deeply religious.

Bobby Marrow – teen male of color. Junior at the school and a part of the boys choir. Nephew to Headmaster Narrow and a school legacy.

Anthony Justin ‘AJ’ James – teen male of color. Senior at the school. Roommates with Pharus.

Mr. Pendleton - white male professor. Has been teaching at the school for a long time.

Plot summary

[edit]

The play begins at the graduation ceremony at the Charles R. Drew Prep School for Boys. As Pharus sings a song for the ceremony, Bobby calls him racial and homophobic slurs, causing Pharus to freeze. Later, Headmaster Stephen Marrow scolds Pharus for freezing, but Pharus refuses to snitch on his peers. Summer passes.

On the first day of class, Bobby and Jr serve their punishment for disturbing the ceremony. Bobby accuses Pharus of snitching, but he denies it. This culminates in Pharus kicking Bobby out of choir. Pharus, Jr, David, and AJ continue to sing together. Months later, Headmaster Marrow threatens to remove Pharus as the choir lead for not being able to get along with its members. Pharus says that he will appeal to the board and lightly accuses him of making that choice because he is queer. Headmaster Marrow takes back the threat and allows Pharus to continue as lead. Pharus and Bobby bicker in Mr. Pendleton’s class, leading Bobby to leave class. In the shower room, AJ calls Pharus out for singing loudly. In retaliation, Pharus begins talking about AJ’s penis size. AJ also calls Pharus out for using neutral pronouns when describing who AJ might have sex with. David enters and informs the two that he overheard their conversation, but Pharus explains that they were just joking. Later, inside Pharus and AJ’s dorm room, they begin jokingly arguing. They begin play-fighting, tackling, and tickling, and Pharus becomes aroused and pushes AJ off him. AJ realizes what has happened.

During a call home to Pharus’ mom, he tells her that he will not be singing at Commencement, but he hopes that she will continue to be proud of him. Later in the shower room, Pharus enters and starts talking to someone, but they remain unseen to the audience. Pharus tells the person that he misses him. Jr. reenters, and the audience hears the sound of Pharus getting punched. Afterwards, the Headmaster starts to question people about the incident. Pharus insists that he fell and repeats that he is “a Drew man”. AJ and David both deny hitting Pharus, but David is suspended and his scholarship is taken away, causing him to no longer be able to attend the school. When the headmaster and Mr. Pendleton discuss the school, the headmaster says that he never expected to deal with queer issues. The teachers then explain how Pharus cannot sing during commencement because “boys with black eyes” are not allowed to represent the school.

The day before commencement, Pharus wakes AJ up with his practicing in hopes that the headmaster will change his mind. AJ cuts Pharus’ hair and tells him the story of the last time he went to the barbershop, where he was called a homophobic slur. After, AJ lets Pharus sleep beside him. In the final scene of the play, Bobby sings the commencement music. Bobby pauses at the same moment where Pharus did at the beginning of the play, turns around to look at him, and then continues the song.

Production history

[edit]

Royal Court Theatre, London

[edit]

Choir Boy opened at the Royal Court Theatre on September 4, 2012, and it played until October 6. Dominic Cooke directed and the cast featured: Dominic Smith (Pharus), David Burke (Mr Pendleton), Gary McDonald (Headmaster Marrow), Eric Kofi-Abrefa (Bobby), Kwayedza Kureya (Junior Davis), Khali Best (Anthony Justin), and Aron Julius (David Heard).[2]

Manhattan Theater Club at City Center, Stage I

[edit]

Choir Boy was commissioned by Manhattan Theater Club. The production began previews on June 18, 2013, with an official opening on July 2, 2013.[3] The production starred Jeremy Pope as Pharus Jonathan Young, Nicholas L. Ashe as Junior Davis, Kyle Beltran as David Heard, Grantham Coleman as Anthony Justin 'AJ' James, Chuck Cooper as Headmaster Marrow, Austin Pendleton as Mr. Pendleton, and Wallace Smith as Bobby Marrow.[4] The show closed on August 11, 2013.[3]

Alliance Theatre

[edit]

Choir Boy premiered on the Hertz Stage at Alliance Theatre on September 20, 2013, and closed on October 13, 2013.

The show featured Jeremy Pope as Pharus Jonathan Young and Nicholas L. Ashe as Junior Davis, both reprising their performances from the City Center run of the show. New cast members included Caleb Eberhardt as David Heard, Joshua Boone as Bobby Marrow, Scott Robertson as Mr. Pendleton, John Stewart as Anthony Justin 'AJ' James, and Charles E. Wallace as Headmaster Marrow.[5] Serving as the production understudies were Victor Jackson for Pharus Jonathan Young and Junior Davis; Patrick McColery for Mr. Pendleton; Kevin O'Hara for Headmaster Marrow; and Alex B. West for Anthony Justin 'AJ' James, David Heard, and Bobby Marrow.[6]

The production was directed by Trip Cullman, and featured set and costume design by David Zinn, lighting design by Peter Kaczorowski, sound design by Fitz Patton, music direction and vocal arrangements by Jason Michael Webb, and casting by Nancy Piccione, Kelly Gillespie, and Jody Feldman.[6]

Geffen Playhouse

[edit]

The Geffen Playhouse production in Los Angeles, California began previews on September 16, 2014, before the official opening night on September 26, 2014, and a final performance on October 26, 2014. This production marked the show's West Coast premiere.

The cast included Jeremy Pope as Pharus Jonathan Young, Nicholas L. Ashe as Junior Davis, and Grantham Coleman as Anthony Justin 'AJ' James, all reprising their performances from New York City Center Stage I, and Caleb Eberhardt as David Heard, reprising his performance from the Alliance Theatre production.[7] New to the company was Michael A. Shepperd as Headmaster Marrow, Donovan Mitchell as Bobby Marrow, and Leonard Kelly-Young as Mr. Pendleton.[7]

The production was directed by Trip Cullman and featured set design by David Zinn, costume design by E.B. Brooks, lighting design by Peter Kaczorowski, sound design by Fitz Patton, music direction and vocal arrangements by Jason Michael Webb, and casting by Phyllis Schuringa.[8]

Broadway

[edit]

Choir Boy began previews on Broadway at the Samuel J. Friedman Theatre on December 12, 2018, officially opening on January 8, 2019, and closing on March 10, directed by Trip Cullman and with music direction and arrangements by Jason Michael Webb.[9] The show features choreography by Camille A. Brown, scenic design and costume design by David Zinn, sound design by Fitz Patton, production stage manager Narda E. Alcorn, lighting design by Peter Kaczorowski.[10][11] Jeremy Pope, Chuck Cooper, Caleb Eberhardt, Nicholas L. Ashe and Austin Pendleton reprised their roles.[12]

The production was praised by critics, especially appreciating Jason Michael Webb's book, Brown's choreography and sound design by Patton.[13][14][15] It received four nominations at the 73rd Tony Awards, including for Best Play, winning for Best Sound Design of a Play and a Special Tony Award for Webb.

Toronto

[edit]

Choir Boy, co-produced by Canadian Stage and The Arts Club, opened on Friday November 11, 2022, at the Bluma Appel Theatre in the St. Lawrence Centre for the Arts. Directed by Mike Payette, it starred Andrew Broderick, Kwaku Okyere, David Andrew Reid, Clarence "CJ" Jura, Savion Roach, Daren Herbert and Scott Bellis.

Casts

[edit]
Character Royal Court Theatre (2012) New York City Center (2013) Alliance Theatre (2014) Geffen Playhouse (2014) Broadway (2018) Bristol Old Vic (2023)
Pharus Jonathan Young Dominic Smith Jeremy Pope Terique Jarrett
Headmaster Marrow Gary McDonald Chuck Cooper Charles E. Wallace Michael A. Shepperd Chuck Cooper Daon Broni
David Heard Aron Julius Kyle Beltran Caleb Eberhardt Michael Ahomka-Lindsay
Bobby Marrow Eric Kofi-Abrefa Wallace Smith Joshua Boone Donovan Mitchell J. Quinton Johnson Alistair Nwachukwu
Anthony Justin 'AJ' James Khali Best Grantham Coleman John Stewart Grantham Coleman John Clay III Jyuddah James
Junior Davis Kwayedza Kureya Nicholas L. Ashe Khalid Daley
Mr. Pendleton David Burke Austin Pendleton Scott Robertson Leonard Kelly-Young Austin Pendleton Martin Turner
Ensemble N/a N/a N/a N/a Daniel Bellomy N/a
Ensemble N/a N/a N/a N/a Jonathan Burke N/a
Ensemble N/a N/a N/a N/a Gerald Caesar N/a
Ensemble N/a N/a N/a N/a Marcus Gladney N/a

Awards and nominations

[edit]

Original Off-Broadway production

[edit]
Year Award Category Nominee Result
2013 Drama League Award Distinguished Performance Jeremy Pope Nominated
Outer Critics Circle Award Outstanding New Off-Broadway Play Nominated

Broadway production

[edit]
Year Award Category Nominee Result
2019 Tony Awards Best Play Nominated
Best Performance by an Actor in a Leading Role in a Play Jeremy Pope Nominated
Best Sound Design of a Play Fitz Patton Won
Best Choreography Camille A. Brown Nominated
Special Tony Award Jason Michael Webb Won
Drama Desk Award Outstanding Music in a Play Jason Michael Webb and Fitz Patton Won
Outstanding Sound Design in a Play Fitz Patton Nominated
Outstanding Choreography Camille A. Brown Nominated
Outer Critics Circle Award Outstanding Actor in a Play Jeremy Pope Nominated
Outstanding Featured Actor in a Play John Clay III Nominated
2020 GLAAD Media Award[16] Outstanding Broadway Production Nominated

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Choir Boy

View on Grokipedia
from Grokipedia
Choir Boy is an American and band formed in the , led by vocalist and songwriter Adam Klopp. Originating from Klopp's teenage years fronting punk cover bands in , —where peers nicknamed him "Choir Boy" for his ethereal singing voice—the group relocated to , , and solidified its lineup with guitarist Michael Paulsen, bassist Chaz Costello, and multi-instrumentalist Jeff Kleinman. The band's sound fuses brooding indie elements with shimmering new wave and pop influences, characterized by heartfelt, melancholic lyrics and atmospheric production, as showcased in their debut album Passive with Desire (2016) on Team Love Records and follow-up Gathering Swans (2020) on Dais Records. Choir Boy has cultivated a niche but devoted following in underground goth, indie, and scenes through consistent touring and releases, including singles like "Nites Like This," though it remains independent of mainstream commercial success.

Synopsis

Plot Summary

Choir Boy is set at the Prep School for Boys, an elite, historically Black all-boys preparatory school, during the choir's intense preparation season for a major performance event. The narrative opens with Pharus Jonathan Young, the school's gifted choir president, leading a solo and group rendition of like "Rockin' ," impressing observers including the headmaster. As rehearsals progress, Pharus directs the ensemble in traditional and spiritual arrangements, but internal tensions emerge from peer directed at his effeminate mannerisms and perceived , particularly from student Bobby Marrow, the headmaster's nephew. These conflicts intensify during practices, where homophobic taunts and sabotage disrupt unity, compounded by the new headmaster's enforcement of stricter disciplinary measures and debates over preserving authentic performance traditions in spirituals. Personal strains surface among the choir members, including confessional moments between Pharus and his roommate AJ, and escalating aggression from Bobby leading to suspensions and confrontations with authority figures. The group receives an invitation for a high-profile opportunity, prompting Pharus to challenge the headmaster on issues of silence versus expression. The plot advances toward the choir's pivotal , where rehearsals culminate in raw emotional exchanges, including a disruptive slur and a defiant solo performance that forces reckonings within the ensemble.

Main Characters

Pharus Jonathan Young is the lead character, the most talented and charismatic member of the Charles R. Drew Prep School for Boys' gospel choir, whose effeminate mannerisms and open distinguish him from peers and invite their scrutiny within the group's dynamics. Robert "Bobby" Marrow III functions as a supporting choir member and Pharus's roommate, a legacy student whose familial connection to the headmaster positions him amid the school's traditions and peer interactions. Junior Davis appears as a supporting in the , a close friend of Bobby who aggressively upholds norms of traditional , contributing to tensions over among the students. Headmaster Marrow serves as the school's principal authority figure, a man of color in his thirties or forties who supervises the choir's adherence to historical traditions and mediates student conflicts. Supporting faculty like Mr. Pendleton, an English teacher, influence the choir's interpretive approach to , while other members such as Anthony Justin "AJ" James and David Heard embody the ensemble's collective pressures and harmonies.

Development and Background

Writing and Inspiration

Choir Boy was written by , with the playwright completing the first draft in 2007 after a nine-month . McCraney's approach emphasized drawing from personal educational encounters and critiquing systemic elements of the U.S. education system, such as and barriers to fostering inclusive communities. The play's creation was influenced by African American choral traditions, particularly the role of gospel singing in shaping cultural and among Black males. McCraney aimed to reveal underrepresented narratives within these traditions, including the interpersonal tensions and self-discovery processes in male choir settings. This foundation informed the integration of spiritual elements into the , reflecting real-world dynamics of harmony and discord in such groups. Set in the fictional Prep School for Boys, the script probes the implicit rules and rituals governing all-male environments, confronting issues like homophobia, classism, and the pressures of masculinity on young Black individuals navigating identity. McCraney developed the work as an evolving piece, subject to revisions that maintained its focus on these causal tensions without yielding to external narrative impositions.

Musical Elements

The play features performances of traditional Negro spirituals and hymns, rendered without any instrumental support to foreground the raw power of unaccompanied voices in creating harmonic layers and rhythmic drive. These selections, rooted in oral traditions that fuse African-derived polyrhythms and call-and-response structures with European melodic forms, function as structural pivots to heighten emotional intensity and transition between dramatic beats. Arrangements adapt public-domain spirituals for dramatic immediacy, incorporating elements like overlapping vocal lines and spontaneous harmonic shifts to mirror characters' internal conflicts while evoking communal rituals. Clapping patterns and evoke ancestral practices, providing percussive foundations that contrast the rigidity of inherited forms against fluid, individualized interpretations. Devoid of a fixed musical score, the production hinges on the performers' vocal proficiency to infuse authenticity, enabling subtle improvisations—such as ad-libbed runs or dynamic swells—that adapt to each rendition and preserve the genre's historical emphasis on live, unrehearsed expression over scripted precision. This approach underscores the music's role as an organic extension of the actors' talents rather than a pre-composed overlay.

Production History

World Premiere and Early Productions

Choir Boy received its world premiere at the Royal Court Theatre in on September 6, 2012, in the Jerwood Theatre Upstairs, directed by in a co-production with . The production featured a British cast employing American dialects to depict the play's setting in a historically Southern U.S. preparatory school, earning acclaim for its vibrant energy, gospel-infused musicality, and exploration of interpersonal tensions within the choir. Critics highlighted the direction's precision in balancing the script's rhythmic dialogue and choral elements, though some noted the challenge of conveying culturally specific American nuances to a British . The American premiere followed at Manhattan Theatre Club's Stage II at , with previews beginning June 18, 2013, and the official opening on July 2, 2013, under the direction of Trip Cullman. This staging emphasized the play's roots in African American traditions, allowing U.S. audiences to engage more intuitively with references to and dynamics, and it ran through August 11, 2013. An concurrent early regional production opened at the Alliance Theatre in on September 20, 2013, running through October 13 on the Hertz Stage, marking one of the first Southern U.S. stagings attuned to the play's Georgia-inspired milieu. Initial reception in praised the production's handling of complex themes like and identity through its musical sequences, though some reviews critiqued its emotional tone as overly somber. These early efforts underscored adaptations in accent work and cultural framing to bridge transatlantic differences, with the U.S. versions benefiting from native performers' authenticity in and step routines.

Off-Broadway and Regional Runs

The American premiere of Choir Boy occurred at Manhattan Theatre Club's Stage II, running from July 3 to August 11, 2013, under the direction of Trip Cullman. The production, which featured gospel-infused arrangements, starred as Pharus Young and received attention for its exploration of identity within a historically preparatory school's choir, drawing audiences through its musical and dramatic intensity. This staging, commissioned by MTC in co-production with the Alliance Theatre, marked a key step in the play's U.S. expansion following its London debut, with Cullman's direction emphasizing rhythmic vocal harmonies to underscore character tensions. Immediately following the run, the production transferred to the Alliance Theatre in for its regional debut on the Hertz Stage from September 20 to October 13, 2013, retaining Cullman's direction and much of the original cast. This engagement highlighted adaptations for Southern audiences, including amplified focus on the choir's spiritual elements to resonate with local traditions of music, contributing to sold-out performances and discussions on themes of in African American communities. Subsequent regional mountings further broadened the play's reach in the mid-2010s. The West Coast premiere at Geffen Playhouse in Los Angeles, directed again by Cullman, previewed on September 16 and opened on September 24, 2014, running through October 26, with Nicholas L. Ashe reprising Pharus and new emphasis on vocal precision in intimate staging to heighten emotional confrontations. Similarly, Studio Theatre in Washington, D.C., presented the production from December 7, 2014, to March 1, 2015, under Kent Gash's direction, where adjustments included intensified a cappella rehearsals to adapt the ensemble's sound for a smaller venue, fostering greater visibility among East Coast theatergoers and paving groundwork for national recognition. These runs collectively amplified the play's profile through varied regional lenses, prioritizing musical authenticity to engage diverse audiences while refining elements that would culminate in its Broadway transfer.

Broadway Production

Choir Boy began previews on Broadway on December 12, 2018, at the , produced by the . The production, directed by Trip Cullman, officially opened on January 8, 2019. It featured an all-Black male cast portraying students at a historically Black , with the ensemble required to perform gospel arrangements integral to the play's structure. Initially scheduled as a limited engagement, the run was extended due to strong audience response and critical attention following its opening. The production concluded on March 10, 2019, after approximately 12 weeks of performances. grosses varied, with weekly earnings peaking around $380,000 in early February 2019, reflecting solid attendance for a play without intermission running 1 hour and 45 minutes. The staging emphasized the vocal demands on the actors, who handled live singing without musical accompaniment, contributing to the production's raw, immersive quality.

Post-Broadway Productions

The Center for the mounted a revival of Choir Boy from April 22 to May 29, 2022, in the Kilstrom Theatre, featuring the play's signature arrangements amid themes of privilege and self-discovery at a prep school for Black boys. Later that year, presented the production from March 31 to April 23, 2022, under the direction of Christopher D. Betts, emphasizing the protagonist Pharus Young's vocal prowess and internal conflicts over leadership and authenticity. Portland Center Stage followed with a run from April 15 to May 14, 2023, on the U.S. Bank Main Stage, directed by Chip Miller, which highlighted the ensemble's harmonious as a to interpersonal tensions within the choir. In 2024, Shotgun Players in Berkeley staged the play from September 24 to October 26 at the Ashby Stage, preserving McCraney's rhythmic dialogue and musical interludes to explore generational clashes and personal honor. These post-2020 revivals, spanning major regional venues, underscore persistent demand for Choir Boy's blend of dramatic narrative and live vocal performance, as evidenced by the sequence of mountings in diverse theatrical markets. School of the Arts (UNCSA) concluded this trend with performances from October 23 to November 1, 2025, at Catawba Theatre, directed by faculty member Cliff Odle, focusing on the script's portrayal of resilience through song.

Themes and Analysis

Core Themes

The play explores tensions between collective and personal individuality within the Black choral heritage, where longstanding gospel singing practices serve as both a unifying cultural force and a constraint on innovation. These motifs manifest through the choir's reliance on historical and call-and-response techniques, which demand over solo divergence, reflecting broader dynamics in African American musical ensembles. McCraney draws from the untold narratives of gospel performers to underscore how such traditions preserve communal identity while potentially stifling unique voices. Peer pressure and the imposition of hyper-masculinity recur as motifs in the all-male setting, enforcing to aggressive, stoic gender roles that marginalize deviations in behavior or expression. This dynamic arises from communal expectations to project strength amid familial and societal disruptions, amplifying scrutiny within the isolated environment. The text illustrates how such pressures manifest in rituals of dominance and exclusion, prioritizing group over personal vulnerability. Faith, sexuality, and identity intersect as core motifs within the religious framework of the prep school, where Christian doctrines of moral purity clash with the students' emerging self-understandings. Biblical references and choral hymns frame internal conflicts, positioning as a site of both repression and potential liberation for non-conforming desires. This tension highlights the school's dual role in fostering ethical manhood while grappling with unspoken personal truths. Generational clashes emerge between the students' drive for and the authority figures' adherence to institutional hierarchies, embodying disputes over evolving versus entrenched disciplinary norms. Older overseers invoke legacy and order to maintain control, while the younger challenges these through subtle acts of defiance in rehearsals and decisions. Such motifs underscore the friction between inherited and the imperative for adaptation in a tradition-bound milieu.

Critical Interpretations

Critics have analyzed Choir Boy as centering queerness and masculinity, often highlighting Pharus's effeminate traits and leadership in the choir as emblematic of tensions between and communal expectations within an all- . Some interpretations note the play's engagement with entrenched stereotypes of the "choir boy" as inherently queer and performative, potentially limiting representations of Black male diversity by associating vocal talent with non-normative . Affirmative readings, however, commend McCraney's tender exploration of these dynamics, portraying Pharus's queerness not as a deficit but as a source of artistic power amid peer rivalries and familial disapproval. Debates persist over the play's stance on "it gets better" narratives for , with some scholars and reviewers arguing it reinforces such through Pharus's eventual choir triumph and institutional continuity, suggesting resilience via tradition. Skeptical viewpoints counter that the narrative challenges these assurances as delusional, depicting Pharus's graduation tears and conditioned self-loathing—rooted in early and ongoing societal rejection—as evidence of enduring trauma beyond , without simplistic resolution. This perspective critiques potential oversimplification of privilege, noting how the prep school setting may underplay broader socioeconomic barriers for marginalized . Interpretations of music in Choir Boy vary between and conformity: gospel spirituals and arrangements are seen as liberating tools for emotional expression and visibility, elevating Pharus's voice amid silencing homophobia. Conversely, others argue the choir's rigid traditions enforce assimilation, compelling characters to suppress individuality for harmonic unity and institutional approval, mirroring broader pressures on Black identity to conform rather than disrupt. Analyses questioning homophobia's portrayal emphasize the play's avoidance of , attributing aggressors' actions to their own vulnerabilities like class insecurity and religious ambition, thus complicating victim-perpetrator binaries without excusing violence.

Portrayal of Masculinity and Identity

In Choir Boy, norms are depicted through the rigid expectations of at Prep School, an elite institution for Black boys where choral traditions rooted in Negro spirituals and gospel enforce hyper-masculine behaviors to uphold communal respectability. Pharus Jonathan Young, the effeminate choir leader, navigates these norms via his flamboyant mannerisms, such as a "limp wrist," which provoke peer criticism and slurs like "" from characters including Bobby, who embodies more conventional macho ideals. This bullying stems from efforts to preserve the school's cultural legacy—tied to historical movements like the —where deviations from traditional manhood are viewed as threats to the collective image and internal cohesion of the Black community, rather than mere abstract . Pharus's arc illustrates a pragmatic negotiation of within these institutional constraints, as he leverages his vocal talent to assume of the amid debates over authentic spiritual performance versus modern embellishments, ultimately finding partial through authenticity while adapting to group expectations. Unlike narratives framing such experiences as inevitable external , the play emphasizes internal dynamics: conflicts arise primarily among students and faculty enforcing respectability —such as Ivy League-style grooming and black nationalist emphases on family-oriented manhood—to counter broader societal stereotypes, with music serving as a unifying mechanism rather than a full escape. Critics have noted that the resolution, centered on choral triumph and interpersonal , idealizes communal without confronting entrenched institutional failures, such as the headmaster's biases or the choir's exclusionary traditions, which perpetuate cycles of enforcement over substantive . This portrayal underscores causal realism in , where self-discovery emerges from bargaining with inherited cultural imperatives, highlighting the tension between individual expression and group survival in insular settings.

Reception

Critical Reviews

Critics have lauded the vocal performances in Choir Boy, particularly the ensemble's harmonies and lead solos, which convey emotional authenticity through and arrangements. In the 2019 Broadway production at the , Jeremy Pope's portrayal of Pharus Young was highlighted for its sensational vocal range and heartfelt resonance, elevating scenes like renditions of "Sometimes I Feel Like a Motherless Child." Similarly, the 2022 Yale Repertory Theatre staging drew praise for Israel Erron Ford's strong vocals as Pharus and the cast's soul-stirring group singing, which underscored the play's themes of identity and belonging. However, reviewers have criticized the play's plot for predictable character arcs and reliance on stereotypes, which can result in meandering tension rather than sharp development. Deadline described the Broadway version as reaching ambitiously but lacking narrative tightness, with some moments feeling overly didactic in dialogue that disrupts flow. In regional productions post-Broadway, such as Yale Rep's, the story was deemed basic and prone to taking the easy path in resolving conflicts, amplifying perceptions of unresolved interpersonal dynamics among the boys. Dissenting voices have pointed to a lack of depth in exploring and queerness, viewing the script's as occasionally undermining causal rigor in character motivations. While early reviews, such as Variety's coverage of pre-Broadway runs, appreciated McCraney's ear for , later critiques noted static character growth, where individuals deliver sharp lines but exhibit limited transformation. This pattern persisted in post-2019 stagings, where execution strengths in music and acting could not fully offset formulaic tensions in identity confrontations.

Audience Response

The Broadway production of Choir Boy generated weekly grosses ranging from $258,754 to $365,102 during its limited run from January 8 to March 10, 2019, reflecting consistent audience interest in a new play by despite not achieving sell-out status at the . These figures indicate draw from theatergoers seeking stories of male and gospel-infused , though the engagement concluded on schedule without reported extensions. Regional productions have similarly attracted local audiences attuned to McCraney's exploration of identity within communities, with initiatives like black-out performances—reserved exclusively for patrons—to foster deeper cultural resonance and address potential barriers in conveying nuances of prep school dynamics and spiritual traditions. Venues such as Portland Center Stage and reported engagement from diverse regional viewers, who responded to the a cappella arrangements and character-driven narratives through the play's emphasis on and interpersonal tensions. Testimonials from attendees highlight the production's emotional immediacy, including hearty laughter amid humorous exchanges and introspection prompted by the characters' use of vernacular profanity reflective of their environment, though some expressed unease with the raw depictions of peer conflicts involving slurs. Overall, the play's appeal lies in its accessibility via music for broader demographics while challenging non-Black or unfamiliar audiences to grapple with context-specific cultural references.

Awards and Nominations

The Off-Broadway premiere of Choir Boy at in 2013 earned a nomination for the Outer Critics Circle Award for Outstanding New Play. It also received a nomination for Distinguished Performance for 's portrayal of Pharus. The 2019 Broadway production at the garnered four Tony Award nominations, including Best Play for , Best Performance by an Actor in a Leading Role in a Play for , Best for Camille A. Brown, and Best Sound Design of a Play for Fitz Patton, the latter of which it won. Jason Michael Webb received a for his musical direction and vocal arrangements. additionally won a World Award for his debut performance. Subsequent productions have accumulated further recognition. The 2023 Bristol Old Vic mounting in the won three Black British Theatre Awards, including Best Production (Play) and Best Director for Nancy Medina.
AwardCategoryRecipient/NomineeResultYearProduction
Tony AwardBest of a PlayFitz PattonWon2019Broadway
Tony AwardJason Michael WebbWon2019Broadway
Black British Theatre AwardBest Production (Play)ProductionWon2024Bristol Old Vic

Legacy

Cultural Impact

Choir Boy has advanced the visibility of narratives in mainstream theater through its portrayal of adolescent boys confronting sexuality amid institutional pressures at an elite prep school. Its 2013 Broadway premiere, directed by Trip Cullman, introduced audiences to protagonist Pharus Young's effeminate mannerisms and singing style, challenging homophobic dynamics within male spaces. This staging, featuring a cast including Nicholas Christopher as Pharus, garnered attention for centering unapologetic experiences, as noted in contemporary reviews praising its interrogation of masculinity. Following the 2017 Academy Award win for Moonlight—adapted from McCraney's related works—Choir Boy experienced renewed productions that amplified its role in youth identity discourse. The 2023 Bristol Old Vic revival, directed by Nancy Medina, highlighted the play's enduring relevance in addressing vulnerabilities among Black boys, with a cappella gospel sequences underscoring communal tensions. Subsequent mountings, including the 2024 Arts Club Theatre Company presentation in Vancouver and the 2025 Karamu House production in Cleveland, reflect a surge in stagings post-2017, evidencing measurable cultural traction. The play's integration of choral traditions has informed later theatrical examinations of in contexts, as seen in McCraney's own 2025 work We Are Gathered, which drew inspiration from a 2023 Choir Boy revival during World Pride events. These elements, rooted in and prep school rituals, have sustained discussions on , with revivals maintaining the original's focus on as a for fractured .

Influence on Theater and McCraney's Career

Choir Boy represented a pivotal advancement in Tarell Alvin McCraney's career, aligning with his selection as a MacArthur Fellow, which recognized his innovative fusion of African American vernacular traditions with classical dramatic forms. The play's premiere at New York City's Signature Theatre on June 18, , garnered attention for its spirituals and exploration of Black male adolescence, setting the stage for McCraney's expanded profile. This momentum culminated in the production's Broadway transfer at the on January 8, 2019, marking McCraney's main stem debut and earning four Tony Award nominations, including for Best Play. The work influenced theater trends by demonstrating the viability of music-infused dramas outside traditional musical formats, employing unaccompanied harmonies to propel narrative and emotional depth amid all-male, predominantly Black casts. Such integration highlighted performative traditions like and as integral to character development, encouraging subsequent productions to blend cultural specificity with diverse representation in non-musical plays. McCraney's approach in Choir Boy informed his later projects, including the 2017 Oscar-winning screenplay for and television series (2019), where rhythmic, vernacular elements similarly underscore identity and resilience. While advancing McCraney's oeuvre toward broader acclaim, the play also drew observations of an overemphasis on identity-centric narratives across his catalog, with works like Choir Boy repeatedly centering youth grappling with queerness, , and , potentially constraining thematic variety. Its long-term staging record underscores enduring yet niche appeal: revivals include Steppenwolf Theatre in (June 2022), Geffen Playhouse in (2014), and Shotgun Players in Berkeley (October 2024), reflecting sustained interest in regional and educational venues rather than widespread commercial dominance.

References

  1. https://www.daisrecords.com/collections/choir-boy
  2. https://www.allmusic.com/artist/choir-boy-mn0003561402
  3. https://choirboy.bandcamp.com/
  4. https://groundcontroltouring.com/artists/choir-boy
  5. https://www.geffenplayhouse.org/shows/choir-boy/
  6. https://stageagent.com/shows/play/8483/choir-boy
  7. https://www.pcs.org/features/choir-boy-plot-summary
  8. https://stageagent.com/characters/22826/choir-boy/pharus-jonathan-young
  9. https://www.marintheatre.org/show-details/choir-boy
  10. https://stageagent.com/characters/22829/choir-boy/robert-bobby-marrow
  11. https://stageagent.com/characters/22830/choir-boy/junior-jr-davis
  12. https://slotkinletter.com/2022/11/review-choir-boy
  13. https://stageagent.com/characters/22827/choir-boy/headmaster-marrow
  14. https://stageagent.com/characters/22828/choir-boy/mr-pendleton
  15. https://www.studiotheatre.org/plays/play-detail/2014-2015-choir-boy
  16. https://canberratheatrecentre.com.au/wp-content/uploads/2023/03/NTofPchoirboy_educationpack_FINAL.pdf
  17. https://www.broadway.com/buzz/170337/choir-boy-scribe-tarell-alvin-mccraney-on-the-untold-story-of-african-american-gospel-singers/
  18. https://www.pcs.org/choir-boy
  19. https://lasvegas.splashmags.com/2019/01/a-heavenly-choir-boy-at-the-samuel-j-friedman/
  20. https://artsclub.com/education/pdfs/student-matinees/choir-boy-study-guide.pdf
  21. https://royalcourttheatre.com/royal-court-theatre-announces-autumn-season/
  22. https://www.theguardian.com/stage/2012/sep/11/choir-boy-review
  23. https://everything-theatre.co.uk/2012/09/choir-boy-royal-court/
  24. https://www.broadwayworld.com/article/VIDEO-On-This-Day-July-2--CHOIR-BOY-Opens-at-Manhattan-Theatre-Club-20210702
  25. https://playbill.com/gallery/mtcs-choir-boy-starring-chuck-cooper-and-austin-pendleton-opens-off-broadway-com-7405
  26. https://www.manhattantheatreclub.com/shows/2012-13-season/choir-boy/
  27. https://www.alliancetheatre.org/production/2013-14/choir-boy
  28. https://www.artsatl.org/review-choir-boy-takes-complex-themes-masterfully-hits-notes/
  29. https://www.ajc.com/entertainment/choir-boy-sad-disconsolate-song/TG2OQolfNCC8NP5RKglrTK/
  30. https://www.broadwayworld.com/shows/Choir-Boy-330631.html
  31. https://www.ajc.com/entertainment/choir-boy-premieres-alliance-theatre-hertz-stage/KzJ1y5w6Te3UJhWUGvp7ZM/
  32. https://www.geffenplayhouse.org/press-releases/cast-announced-for-choir-boy/
  33. https://www.latimes.com/entertainment/arts/la-et-cm-choir-boy-review-20140929-column.html
  34. https://www.broadwaynews.com/choir-boy-sets-new-opening-night-first-preview-dates/
  35. https://www.ibdb.com/broadway-production/choir-boy-517586
  36. https://playbill.com/article/go-inside-opening-night-of-choir-boy-on-broadway
  37. https://playbill.com/production/choir-boysamuel-j-friedman-theatre-2018-2019
  38. https://www.manhattantheatreclub.com/shows/2018-19-season/choir-boy/
  39. https://playbill.com/article/tarell-alvin-mccraneys-choir-boy-ends-on-broadway-march-10
  40. https://www.broadwayworld.com/grosses/CHOIR-BOY
  41. https://www.broadwayworld.com/shows/TV-Get-an-Inside-Look-at-CHOIR-BOY-332550.html
  42. https://www.denvercenter.org/tickets-events/choir-boy/
  43. https://playbill.com/production/choir-boydenver-center-for-performing-arts-2021-2022
  44. https://yalerep.org/productions/choir-boy/
  45. https://www.courant.com/2022/04/10/review-choir-boy-a-tale-of-homophobia-and-self-awakening-in-a-boys-school/
  46. https://www.pcs.org/shows/2022-2023-season
  47. https://www.berkeleyside.org/2024/09/13/choir-boy-opens-soon-at-shotgun-players-ashby-stage
  48. https://www.kqed.org/arts/13966174/review-choir-boy-shotgun-players-berkeley
  49. https://www.americantheatre.org/events/choir-boy-4/
  50. https://www.uncsa.edu/performances/events/20251023-choir-boy.aspx
  51. https://www.wxii12.com/article/uncsa-choir-boy-performances-musicals-play-theater/69122889
  52. https://www.alliancetheatre.org/sites/default/files/FY14%2520Choir%2520Boy%2520Study%2520Guide.pdf
  53. https://www.nytimes.com/2013/06/29/theater/characters-finding-their-voices-by-singing-in-the-choir.html
  54. https://www.theblackproject.net/entertainment/theatre-review-choir-boy-bristol
  55. https://www.theatermania.com/news/choir-boy_71352/
  56. https://karamuhouse.org/wp-content/uploads/2025/04/Choir-Boy-Education-Guide.pdf
  57. https://www.theguardian.com/stage/2023/feb/23/choir-boy-review-a-tender-meditation-on-black-queerness-told-through-sublime-music
  58. https://kuscholarworks.ku.edu/bitstreams/088d2599-d8bf-47e7-98a4-f52e758de550/download
  59. https://www.nytimes.com/2019/01/15/magazine/tarell-alvin-mccraney-beauty-black.html
  60. https://www.cambridge.org/core/books/cambridge-companion-to-african-american-theatre/contemporary-black-queer-drama/6711AF910C3DC464F5FCA47D909D3E6E
  61. https://woahitsjuanito.medium.com/choir-boy-and-the-delusion-of-thinking-it-gets-better-9616517452ac
  62. https://www.ipl.org/essay/A-Brief-Review-Of-Choir-Boy-By-05D70CE77B5DCAC0
  63. https://lavelleporter.com/2013/07/11/choir-boy/
  64. https://variety.com/2019/legit/reviews/choir-boy-review-play-broadway-1203102655/
  65. https://deadline.com/2019/01/choir-boy-broadway-review-tarell-alvin-mccraney-moonlight-jeremy-pope-1202530617/
  66. https://2ontheaisle.wordpress.com/2022/04/25/yales-choir-boy-is-interesting-if-predictable-drama-of-teen-boys/
  67. https://variety.com/2013/legit/reviews/legit-review-choir-boy-1200504053/
  68. https://www.broadwayworld.com/article/INDUSTRY-INSIGHT-Weekly-Grosses-Analysis-12-Multiple-Shows-Smash-Records-20190102
  69. https://www.broadway.com/buzz/194718/broadway-grosses-in-advance-of-netflix-premiere-audiences-flock-to-see-american-son/
  70. https://deadline.com/2019/01/broadway-box-office-32-million-daniel-radcliffe-lifespan-of-a-fact-network-to-kill-a-mockingbird-1202534984/
  71. https://www.broadwayworld.com/boston/article/BWW-Interview-Elizabeth-Addison-Maurice-Emmanuel-Parent-on-BOSTONS-BLACK-OUT-PERFORMANCES-20201021
  72. https://www.broadwayworld.com/article/Cast-Announced-for-CHOIR-BOY-at-Steppenwolf-Theatre-Company-20220525
  73. https://www.theguardian.com/stage/2023/oct/20/tarell-alvin-mccraney-choir-boy-bristol-interview
  74. https://bristololdvic.org.uk/blog/choir-boy-scoops-three-awards-at-the-black-british-theatre-awards-2024
  75. https://www.npr.org/2019/03/05/700405508/moonlight-writer-s-broadway-debut-stars-a-queer-black-choir-boy
  76. https://www.out.com/entertainment/2019/1/09/review-choir-boy-black-queer-play-broadway-needs
  77. https://www.createastir.ca/articles/arts-club-theatre-canadian-stage-choir-boy
  78. https://www.nytimes.com/2025/05/19/theater/we-are-gathered-mccraney.html
  79. https://www.theguardian.com/stage/2023/oct/19/choir-boy-review-tarell-alvin-mccraney-bristol-old-vic
  80. https://www.macfound.org/fellows/class-of-2013/tarell-mccraney
  81. https://playbill.com/article/choir-boy-playwright-tarell-alvin-mccraney-named-2013-macarthur-fellow-com-209913
  82. https://www.broadway.com/buzz/194345/moonlight-oscar-winner-tarell-alvin-mccraney-makes-broadway-playwriting-debut-with-choir-boy/
  83. https://dctheaterarts.org/2025/06/05/my-queer-coming-of-age-with-tarell-alvin-mccraney/
  84. https://www.chicagotribune.com/2022/06/26/review-choir-boy-at-steppenwolf-theatre-is-a-beautiful-play-with-music-about-a-gay-student-at-an-elite-school-finding-his-way/
  85. https://www.berkeleyside.org/2024/10/08/shotgun-players-inspiring-moving-choir-boy-explores-young-mans-search-identity-honor
Add your contribution
Related Hubs
User Avatar
No comments yet.