Review: CHOIR BOY at Shotgun Players

Words seem like such an ordinary way to express such an extraordinary experience like CHOIR BOY by Shotgun Players. With a powerful story, soulful music, and purposeful choreography, CHOIR BOY captivates from start to finish. This mesmerizing show grapples with tough topics, not only on the surface but in deep, meaningful ways. It will hold you, and shake you, and leave you vibrating with the energy that comes from the power of truth.

CHOIR BOY is born from the magic of playwright Tarell Alvin McCraney and the musical arrangements of Jason Michael Webb. It follows the story of Pharus Young, a student at the Charles R. Drew Prep School. Pharus is the lead in the school’s choir, the place where his talent shines, and he feels most himself. While the fact that Pharus is gay is openly known, everyone around him from the Headmaster to his mother to his classmates encourage him to be discreet - less feminine, less flamboyant, less free, and less himself. One classmate in particular, Bobby Marrow, the Headmaster’s nephew, is especially cruel to Pharus. Their rivalry in the choir room and antagonism in the hallways spills over into a performance that will lead the boys into a state of open hostility. Tensions rise as Pharus and Bobby continue their battle in the classroom of guest teacher, Mr. Pendleton. As Pharus struggles to find connection and believe in his own self-worth, an incident with another student sends them both spiraling toward disaster.

The cast of CHOIR BOY is a tight knit group that feeds off each other’s energy. Fred Pitts as Headmaster Marrow also acts as a bit of a narrator. Most of his scenes occur after moments of conflict, and he is in full authority figure mode. Yet, his interactions with Pharus show us that he is more than a figurehead at the school. He really cares for these boys, and his smile at Pharus after one of their discussions is as authentic a Duchenne smile as you’ll ever see. Miles Meckling brings an intensity and restlessness to his portrayal of Bobby Marrow that hints at the layers of his characters. Hurt people hurt people, and this was never more true than in Bobby Marrow. Meckling refuses to let us write him off a bully, but makes us see all of him. Chachi Delgado as Junior Davis may not officially be listed as dance captain, but there is little doubt that his intentionality of movement was the goal for the whole cast. In addition to his tremendous physical presence, Delgado makes Junior the unsung hero. His delivery of arguably the most important line of the show involving what he saw in the locker room is a perfect combination of simplicity and mic drop. William Schmidt as Pharus Young has such a wonderful naturalness about him. He gives Pharus such depth as a beautiful spirit who can never fly far enough away that his demons of self-doubt can’t find him. It is touching, believable, and heart-breakingly sad all at once.

While the staging of the show may seem simple, it is deceptively so. The set design by Deanna Zibello creates a space that feels like the hallowed halls of a storied prep school while also creating multiple points of entry and exit as well as spaces for vignettes. The lighting design by Stephanie Anne Johnson is subtle but so effective. Music direction by Daniel Alley has the cast knowing when to blend and when to stand out, and the effect leaves you with chills. AeJay Antonis Marquis’ choreography is masterful. From the smoothe back up dancer moves, to the rhythmic stepping, everything feels perfectly placed and so, so specific. The effect of the music is also due to the amazing work of sound designer and engineer, Michael Kelly. His addition of echoing effects allows the moments to hit and linger in a way that reverberates right into your heart. Director Darryl V. Jones moves the cast and action in such a way that the space feels much larger than it is. The transitions are sharp, quick, and clean, so much so that rather than it feeling like a break in action, they actually build anticipation. The pacing is steady, never drags, and yet is never rushed. For a show that is almost two hours without an intermission, it moves by with an unexpected quickness. Jones has the cast dialed into their characters and the story in such a way that you know the emotional journey is of paramount importance.

Being a teenager is hard. Being a teenager in a competitive boarding school is even harder. Being a gay teenager forced to constantly linger on the edges of authenticity is unimaginably hard. CHOIR BOY reminds us that while growing up and being true to oneself is a journey we all undertake, some have more obstacles in their path than others. It reminds us that sometimes we are the obstacles that others must overcome. It reminds us that finding someone who truly sees you and values you is the greatest gift. It reminds us that music has power, connection has power, and that sharing those things is a gift to others and to ourselves. CHOIR BOY is everything theater wants to be, and everything that theater needs to be. Your chance to see it ends October 20th. Don’t mess around and miss it. Magic like this doesn’t come around every day.

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