Review: 'Choir Boy' at Yale Rep
Photo by Joan Marcus
The show: “Choir Boy” by Tarell Alvin McCraney
What its it?: A drama with music that was a highlight of the 2018-2019 Broadway theater season. The work is written by McCraney, former Yale School off Drama grad, its playwrighting chairman and MacArthur genius grant recipient (not to mention Oscar winner for “Moonlight”)
That’s mighty impressive: The play is still stellar (with some minor reservations) but this production is definately not. While it has an OK leading performance and great singing (though the sound balance is poor), it’s brought down by several outlandish performances and direction that is often unfocused, undefined and muddy. (Key character and plot details are many times lost in bad sound , staging or projection).
What’s it about?: Play centers on Pharis, “an effeminate young man of color” at the elite Charles R. Drew Preparatory School for Boys, with a voice of an angel and a heightened intelligence that makes him a searching soul but also one that is resourceful and at times deliberately provocative. But it’s been a struggle for him at the all male, all-black school —and he’s not alone with others — both friends and tormentor — all grappling with personal issues with family and self.
It’s a juicy role that call not just for a stunning voice that will silence his detractors but a person of rare charisma, charm and confidence that will beguile an audience, otherwise his bravura seems hollow and the smartness just seems smartass. Israel Erron Ford has some solid moments but is often lost in a mess of staging, unclear intentions and unheard dialogue. McCraney’s dialogue is quite wonderful (when it can be heard clearly) as in the fascinating passage when Pharis talks about what spiritual music means to him
Malik James is excellent as Pharis’ roommate Anthony and Aaron James McKenzie does well as David, a student who is on a religious path. The ensemble of singing students are terrific in song (and though the choreography by Amy Hall Garner can be effective, it is sometimes terribly distracting when it’s competing with some key dialogue from McCraney’s script.
Allen Gilmore eventually finds some human moments as the school’s headmaster but man, that opening scene is an undisciplined screamfest. Anthony Holiday is as Pharis’ homophobe antagonist is also out of control for most of his scenes, stealing focus with his fidgets and faces and making this fascinating character a villainous clown. Seemingly performing in another play entirely (or perhaps channeling the late Prof. Irwin Corey) is Walton Wilson as the guest teacher whom the headmaster brings in to further engage the students.
Who will like it? Lovers of gospel music and a cappella harmonies. Ah, the music. Also McCraney fans — if they can overlook quite a lot — and read the text first.
Who won’t?: Some of those same McCraney fans.
For the kids?: Teens will identify a lot with the play’s characters.