‘Choir Boy’ at Karamu House Struggles to Find a Harmonious Narrative

“Choir Boy” is a play with music–not a musical. The difference? A musical uses songs to progress the plot. In “Choir Boy,” while the songs may pertain or relate to the tale, the gospel, spiritual and R&B interludes are not imperative to the story.

It’s too bad that the music in “Choir Boy” is not its main storytelling vehicle, because while Karamu House’s production soars in musicality, its narrative lacks substance.

“Choir Boy” was written by Tarell Alvin McCraney, a writer best known for his Academy Award-winning film “Moonlight.” The show, which premiered on Broadway in 2019, takes place at the Charles R. Drew Prep School for Boys, a private boarding school dedicated to creating strong, ethical Black men. The prep school hosts a legendary gospel choir led by Pharus, a talented but effeminate upperclassman who is targeted for his undefined sexuality. Pharus struggles to remain true to himself while maintaining his leadership position and securing a spot to sing at graduation.

The 100-minute, no-intermission play with music is currently on stage at Karamu House under the direction of Nathan Henry.

“Choir Boy” starts strong; it opens during Pharus’ junior year as he sings the school song at graduation. He stumbles when a fellow choir member, Bobby, calls him slurs behind his back. Later, he is reprimanded by his headmaster for his less-than-perfect performance. The next really interesting development in the plot? Well, it doesn’t occur until about an hour and 10 minutes later.

While the script can be blamed for the lackluster plot, Karamu’s cast is missing one essential element that would help keep audiences engaged during this dearth of major developments: tension.

As in most coming-of-age stories, clashing personalities between adolescents should add conflict to the narrative, and this conflict should in turn help fuel the show. When propositioned to be the choir’s faculty advisor, teacher Mr. Pendelton protests and says of the boys: “They hate each other!” Perhaps the ensemble just gets along too well, because the relationships between the high school boys read as irritable or strained at their worst. Likewise, threats made by both Mr. Pendelton and the Headmaster lack authority and weight. Even what should be a significant confrontation about overheard “locker room talk” fails to leave a true impact.

Should conflict, tension and plot fail to deliver a powerful narrative, dynamic characters would help redeem “Choir Boy.” Unfortunately, the characters are mostly one-note stereotypes. Bobby (Drew Pope) is the privileged nephew of the headmaster, and in typical bully fashion, he struggles to cope with his own hurt. His right-hand man is Junior (a likable Kodee Williams), a pliable, unserious source of comedic relief. David (the soft-spoken Isaiah Betts), another member of the choir, is a godly man with a predictable secret. Headmaster Marrow (Corin B. Self) is a stern figure concerned with the bottom line. Mr. Pendelton (Abraham McNeil Adams) is an elderly, out-of-touch school teacher who seeks to inspire the students.

The most interesting member of the choir is AJ (Justin Lee-Price), Pharus’s roommate and a student-athlete. Lee-Price takes a soft-handed, quiet approach with AJ, breaking away from the jock stereotype. Sweet, heart-bearing moments between AJ and Pharus are true highlights of the show.

Hall portrays Pharus with plenty of snark and effeminate inflections and mannerisms appropriate for the character. Pharus is unapologetically himself, and it’s refreshing to see a gay character embrace his identity.

Where Hall and the rest of the cast excel is their musical performances. With kudos to music director Dr. David M. Thomas, the cast of delivers various spiritual, gospel and R&B songs with gusto and skill. Their voices harmonize beautifully and melodically. They accompany their songs with stepping dances that feature impressive and complex combinations of rhythmic clapping and stomping, courtesy of choreographer Aseelah Shareef.

Inda Blatch-Geib clothes the cast in proper prep school attire, including button-down shirts, blazers, loafers and khakis. The background of Val Kozlenko’s set design is an imposing stone cathedral with three large, back-lit windows. Set pieces, such as beds, desks, risers, a whiteboard and shower room lockers, are wheeled onto the stage to help create various school settings. Aiding in the transformation of the playing space are lighting cues from Adam Ditzel and ambient sound design from Richard B. Ingraham.

“Choir Boy” lacks the stakes and tension required to truly immerse oneself in Pharus’s coming-of-age story–if only the show found as powerful a harmony in the narrative as it did in the music.

“Choir Boy” runs through May 18 at Karamu House, 2355 East 89th Street, Cleveland. Visit karamuhouse.org or call (216) 795-7077 for tickets, $35 – $45.

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