Theatre Review: Choir Boy, Bristol Old Vic - Vulnerable, honest, and beautiful.
Cast of Choir Boy. Image by Camilla Greenwell
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How can one discover one’s truth without knowing if they are honest - on top of that, not knowing who they even are? The only voyage is art. This piece has Tarell Alvin McCraney’s heart written all over it. Vulnerable, honest, and beautiful.
Tarell Alvin McCraney (Moonlight) explores homosexuality, religion, brotherhood, and black masculinity, all at once in this brilliant work of art named ‘Choir Boy’ directed by Nancy Medina. Pharus (Terique Jarrett), an upbeat and talented singer is named the lead of the Charles Redrew Prep School Choir and also tasked with leading a choir performance at graduation. This performance is significant to each character involved for a unique and valid reason. However, when one is treated differently; and looked down upon because of their queerness, how much harder does an average school year become? A question asked throughout.
The play is not of one specific genre but rather a combination of many. Drama, a heavy dose of comedy, and a sprinkling of romance. All of the actors involved were compelling, each refusing to hold back emotion during scenes of vulnerability or conflict, fully releasing every ounce of pain, laughter, tears, or fear that stemmed from their obvious study of each character or their own personal lives. When it comes to comedy, it would be a disservice to not speak of how well the humour landed and how great the energy was that each performance generated. The many bursts of hearty laughter in the audience were consistent, in reaction to every joke, cultural reference and witty ‘clap back’ that just hit the nail on the head every time.
The dialogue flowed without effort. For the majority of the show, it did not feel like I was watching British actors executing a great portrayal of ‘funny black Americans', it didn’t feel like people putting on an act. It felt like I was watching one of the great 90s black sitcoms. The delivery of the dialogue, the rhythm, allowed the comedy to flow from character to character and then to the audience creating the sensation of a Thursday evening family comfort show again. I can imagine acting American for two and half hours can be exhausting for several reasons, and there were moments when the accents slipped – their portrayals were good but could be refined. This in turn takes away from the authenticity at times, but never the emotion.
The main characters of the play were Pharus (Terique Jarrett), David (Michael Ahomka-Lindsay), AJ (Jyuddah James), Bobby (Alistair Nwachukwu), JR (Khalid Daley), Headmaster Marrow (Daon Broni) and Mr. Pendleton (Martin Turner). It was evident the actors understood the task at hand. Their synergy off stage, heavily contributed to their connections on stage - you did not have to be in the rehearsal room to know that. The performance felt collaborative, no one was outshining another which I feel is important in this piece, it allowed for the themes and issues explored to take the forefront.
Alvin McCraney is more than a writer, but a poet. The scene titled ‘’Motherless Child’’ where all the young men except Pharus console Bobby through a challenging time, has got to be the most intimately crafted scene I have ever experienced. A scene only involving singing and no dialogue just after the interval, set the tone for rest of play brilliantly. Each young man was in and only a towel, accompanied by the realistic set design of the boys’ showers. Kudos must go to set and costume designer Max Johns. In this scene, all the boys are intimately embracing Bobby huddled around him guiding him through his struggle, a struggle many in the Black community unfortunately relate to - death. However, Pharus is on the sidelines trying to get in with the boys but struggling to do so - his struggle is different, but no one relates. It was captivating to see that what brought young black men together in a heartfelt scene was death, as opposed to a conflict Pharus was facing that was considered unrelatable within the play. I felt this scene exhibited these themes poetically and honestly.
Something that absolutely cannot be faulted in this production? The vocals. The harmonies were angelic, and each solo performed was incredible. A real standout moment was the solo performed by Khalid Daley. His eyes reflected his soul, and the rifts complimented the emotion of the character during the scene. Also, the acoustics in the room allowed the echo to travel and linger which made the experience feel a little surreal, and all-encompassing.
This play raised questions on many issues within the Black community, and it does it playfully, and with care. It is only after the play when you walk out into the reception and you catch a whisper of in-depth discussions about details and moments, that you realise just how much of the author's intention, the director fulfilled.
Tarell Alvin McCraney continues to deliver on changing the way black masculinity and intimacy is viewed in society. He is a writer that is essential and needed in the modern-day. Maybe one day, we will be blessed with a film adaptation of this great piece of art; preferably by Barry Jenkins again. Only time will tell. Until then, this is a must watch piece of theatre, and I hope it gets another life once it’s run in Bristol is done.
Choir Boy is playing at the Bristol Old Vic until the 11th of November. Tickets available here.