Tarell Alvin McCraney writes at the intersection of culture and history. His work is characterized by rich emotional landscapes and lyrical, character-driven language. In the three dramas that comprise his acclaimed triptych The Brother/Sister Plays, ancient West African myths inform contemporary stories of redemption, devastation, and discovery on the Louisiana bayou. His drama Head of Passes draws from the Book of Job to explore faith and family in the wake of a natural disaster.
Choir Boy is set at Charles R. Drew Prep, an elite boarding school committed to its 50-year tradition of preparing young black men for greatness. Pharus, a talented and ambitious student, is determined to secure his legacy as the lead of Drew’s legendary gospel choir—until a moment of public humiliation forces him to reconcile his desire to assert himself with his need to belong. The pressure of expectations—from family, institution, and community—unnerves not only Pharus but also the other young men in the choir, as they all struggle to navigate the twin minefields of adolescence and academia.
The friction between upholding tradition and speaking your truth is underscored by McCraney’s use of gospel music. Presented a cappella, stripped down to its purest form, the music emerges as a multi-layered storytelling element. The songs unify the divergent, conflicted voices of the five choir members, re-appropriating traditional spirituals to examine whether the past can serve as a foundation for the boys’ futures instead of a limiting specter.
Choir Boy’s thematic tapestry is vast, interweaving questions of faith, sexuality, legacy, and race. The play’s epic scope emphasizes the complexity of identity, as the young men of Drew attempt to organize their seemingly discordant parts into a vibrant whole.