The young man onstage is singing the traditional spiritual “Trust and Obey.” But just as we’re settling into his sweet, lilting voice, we hear the taunts of “Sissy,” “F – – – – t ” and even worse epithets hurled his way. It’s the bracing opening of “Choir Boy,” Tarell Alvin McCraney’s provocative new play about the tensions among the members of an all-black prep school’s gospel choir.
At the center of this new work by the acclaimed playwright of “The Brother/Sister Plays” is the effeminate Pharus (Jeremy Pope), who attracts the ire of the homophobic Bobby (Wallace Smith), the nephew of the school’s headmaster (Chuck Cooper).
Pharus — determined to lead the choir during the school’s upcoming 50th anniversary celebration — is grilled by the headmaster to reveal the identity of his tormentor, but he refuses, evoking the school motto. “A Drew man doesn’t tell on his brothers,” he says. “He allows him the honor to confess himself.”
Despite Pharus’ flamboyant, mincing mannerisms — the headmaster constantly tries to keep his wrists from going limp — the talented young man is generally accepted by his good-natured schoolmates. His very straight roommate Anthony (Grantham Coleman) even reacts with aplomb when Pharus gets overly excited during a lighthearted wrestling match.
The playwright is not always successful in tying his narrative strands together. One plot element, involving the mystery of who physically attacked Pharus in the communal shower, seems particularly forced.
But overall, the evening registers with potency, examining its themes of race, sexuality and status with a mixture of poignancy and humor.
Under the sharp direction of Trip Cullman (“Murder Ballad”), the ensemble delivers exceptional performances. The charismatic Pope gives a richly complex turn as the proud Pharus. Cooper powerfully conveys the headmaster’s frustration with his unruly students and has a bravura moment with his moving solo on the number “Call Home.” And Austin Pendleton entertainingly mixes humor and righteous indignation as a white teacher who comically excuses his tardiness with the explanation that “It’s not just black people who are late.”
As drama, “Choir Boy” doesn’t always hit the right notes. But in its best moments, especially its beautiful choral renditions of such spirituals as “Eyes on the Prize” and “Motherless Child,” it soars.