Review of ‘Choir Boy’: “Socially vocal story needs to breathe”

The critically acclaimed coming-of-age play arrives in the London scene for a limited run, playing until the end of April. Guillermo Nazara shares his views on the show to let us know if this heartening story of friendship, discrimination, and resilience is likely to sing.

There’s a lot to take from this play. Some good lessons to be learned. Some strong messages to be chanted. It’s far from faultless, nonetheless. And understandably, a few notes should be given for its imperfect narrative cadence to be resolved adequately. That doesn’t mean we shouldn’t laud Choir Man, whose revival has recently settled at London’s Theatre Royal Stratford East following the hype of its inaugural run at the Bristol Old Vic.

There are reasons for such anticipation. Solid reasons, to be fair. Tarell Alvin McCraney’s script exudes the sparkle of a voice that needs to be heard — and which a few would benefit from hearing, too. It’s a tale that brims with poignancy and resonance. And above all, its universal appeal is what reaffirms its quality, as well as the fact that, despite its executional flaws, it is still a piece worth seeing.

Somewhere in the United States, the choir members of an elite all-boys boarding school are starting their sophomore year. Those extracurricular activities are the ticket to the life they want. Or more precisely, the life that everyone around them expects them to want and realise. But things aren’t going that well from the inside. In the middle of a performance, Pharus- the star of the group -is verbally abused by one of his peers with a racist and homophobic remark. Tensions will escalate quickly. And the harmony that once reigned will be replaced by a growing sense of discordance.

McCraney’s writing generally demonstrates sharpness and profundity. As such, most of the characters teem with perceptiveness and introspection. They stand for deeply powerful themes, and they explore them with nearly the same potency. The bond with the viewer is almost instant, and it strikes primarily on an intellectual level. Many blaring topics, such as historical discrimination, inner hate, or generational trauma, are eloquently articulated. Effectively, audiences turn their minds to their plight — and subsequently, their hearts also.

The pathos is achieved, but not fully exploited. Despite so many striking moments, some elements of the story could and should have led to a more harrowing outcome. Pharus’s strife for survival in a homophobic environment is one of the recount’s driving forces. Consequently, the script is packed with both distressing and soulful segments showing the ugliest and kindest sides of his world. All of them are meaningful, but not as emotionally piercing as their potential suggests — with several scenes needing to be fleshed out a little further.

Overall, the pacing flows appropriately, but the approach comes off a bit too linear. The plot’s climax involves physical aggression against Pharus. Had that been the start, and the tale moved back and forth to connect all the dots, it would have resulted in a much more engaging and dynamic narration, where the shock factor becomes its additional value. At the same time, some music numbers feel slightly protracted. And although their significance within the story is undeniable, a few edited versions would prevent the obfuscated rhythm the piece occasionally suffers from.

All the leads play their parts with exceptional prowess. Excellent singing, nuanced acting, and compelling chemistry allow their performance to make the Dean’s List. Among them, Michael Ahomka-Lindsay shines in his quiet yet sonorous portrayal of the conflicted David, while Terique Jarret earns the biggest praise for his spirited and equally touching interpretation of Pharus.

I won’t be serenading to convince you to see this show. All I will say is that its reading will still strike a chord in today’s world. And most probably will for a few more years to come. Despite its problems, Choir Boy sets a higher bar for coming-of-age plays. It’s a fine example of an unfinished work whose rough edges can nonetheless win over an audience’s soft spot. And although some further progressions should be included, it seems to have found the right key to do it.

Choir Boy plays at London’s Theatre Royal Stratford East until 25 April. Tickets are available on the following link.

By Guillermo Nazara