John-Michael Lyles and Ryan Colbert

Choir Boy is the compelling story of a young man dealing with his fit in a society that does not fully accept him, and where old-guard rules and traditions play against him. It is equally as much about the power of music, in this case gospel music—Drew is an unabashedly Christian school—that links students to their heritage, but is performed in modern style, with hip-hop beat and dance moves, pulling the sounds and their meaning into the present. As much as he deals with being gay and struggles to maintain leadership of the choir, Pharus opines eloquently—both in song and in speech—about the power to be derived from embracing the heart and soul of their music.

The play begins at the commencement ceremony held at the end of junior year, where it is announced that Pharus will lead Drew's prestigious choir the next year, and he is given the honor of singing the school song. Halfway through, he is interrupted by the taunts of a fellow choir member, disparaging Pharus' sexuality. It turns out that Pharus' primary tormenter is Bobby, who happens to be the rule-flaunting nephew of Drew's stern Headmaster Marrow. Even when pressed as to what caused Pharus to freeze during the school song, he will not reveal this to Marrow, upholding the unwritten rule: "A Drew man does not report on his fellow student, but allows him the dignity of reporting himself." Still, Marrow deduces that Bobby is the culprit and gives him a dressing down. The resulting tension between Pharus and Bobby throughout the following school year, and the response of several other students to Pharus' open sexuality form the basis of the storyline.

In addition to homophobic Bobby, other choir members are the athletic A.J., also Pharus' roommate, who asserts his straight credentials but is a sensitive ally to Pharus; Junior, who is Bobby's wingman in the latter's misconduct; and David, a gentle-natured student who declares his reawakening to Christ and plans to go to seminary. Each plays a significant part in the unfolding story, as do Marrow and Mr. Pendleton, a retired Drew teacher invited back to develop the student's writing and critical thinking proficiency. Pendleton is white, but a long-time civil rights activist, as far back as having marched with Martin Luther King. When tensions in the choir reach the boiling point, Marrow asks Pendleton to act as the choir's faculty sponsor, primarily to moderate the students' emotions.

As artistic director of Theater Latte Da, Peter Rothstein is renowned in the Twin Cities for effervescence in mounting musicals. Choir Boy is not a musical, but it is a play with a great deal of music—all of it a capella—and much of it is integrated into narrative scenes, as the singing of the students before, during, and after their showers. Director Rothstein, working with music director Sanford Moore and movement consultant Austene Van, has made the musical component of the play dazzle. Some of the songs begin as traditional black gospel before morphing into 21st century reboots that maintain the soulful spirit amidst contemporary rhythm, harmonies, and dance. If the show were nothing but these musical moments, it would be a rousing theater program. That it combines with a powerful and insightful storyline makes it a "don't miss" event.

Of course, this is also testimony to the caliber of performances, uniformly wonderful. John-Michael Lyles, as Pharus, bursts with sprit in his singing and dancing, truly alive in the music, while his acting conveys Pharus' confidence in himself and his world view that defies the shaky ground on which his acceptance of both fellow students and the headmaster rests. We see that he is well aware the world is not ready for him, but he intends to charge ahead, head held high.

His fellow students are each played with depth and distinction. Nathan Barlow conveys a longing for peace that is chased by inner demons, and David Ryan Colbert embodies the meaning of friendship as A.J. Darrick Mosely radiates arrogance and hostility as Bobby, and Kory LaQuess Pullman shows us his struggle between following Bobby and doing what is right. Pullman also adds a bit of comic relief to a play that needs an occasional break in the tension.

As the two adult figures, James Craven is the epitome of stern, old-school authority, announcing lights-out over the school P.A. and determined to maintain Drew Academy's decorum and status. Robert Dorman is terrific as Mr. Pendleton, initially rather goofy and folksy in his efforts to engage his students, animated with enthusiasm for his students' breakthroughs, and drawing upon the fire of deep convictions when put to the test.

Michael Hoover's set ingeniously provides space for the music room, a dorm room, the shower room, Headmaster Marrow's office, and the corridors of Drew, and allows for fluid movement between scenes. The sound design brings out the best of the harmonizing voices, whether the actors are grouped together in choir practice, or spread out in different parts of the stage.

There have been many stories, on stage and page, of young gay people agonizing through the process of accepting their sexuality. In Choir Boy, playwright McCraney turns the page to the present, when many young people more easily accept themselves, thanks to many societal changes, yet still face the continued presence of ignorance and homophobia. In presenting this update to the "coming out" story, in its exploration of the meaning and power of music, and the raw joy of the music performed, Choir Boy is a remarkable play, fully deserving of the immediate standing ovation it received at the performance I attended.

Note: Choir Boy contains full nudity.

Choir Boy continues at the Guthrie Theater's Dowling Studio through July 5, 2015. 618 South 2nd Street, Minneapolis, MN, 55115. Tickets from $29.00 to $39.00, Public Rush tickets for unsold seats 30 minutes before each performance, $15.00. For tickets call 612-377-2224 or go to guthrietheater.org.

Writer: Tarell Alvin McCraney; Director: Peter Rothstein; Musical Director: Sanford Moore; Set Design: Michael Hoover; Costume Design: Trevor Bowen; Lighting Design: Ryan Connealy; Sound Design: Sean Healy; Dramaturg: Jo Holcomb; Movement Consultant: Austene Van; Stage Manager: Lisa M. Smith; Assistant Director: Jamil Jude; Production Assistant: Justin A. Caron; Casting Consultant: McCorkle Casting, LTD; Sound Associate: Reid Rejsa; Intern: Adam Sahli (directing).

Cast: Nathan Barlow (David Heard), Ryan Colbert (Anthony Justin "A.J." James), James Craven (Headmaster Stephen Marrow), Robert Dorfman (Mr. Pendleton), John-Michael Lyles (Pharus Jonathan Young), Darrick Mosley (Robert "Bobby" Marrow III), Kory LaQuess Pullman (Junior Davis).

Photo: Heidi Bohnenkamp

- Arthur Dorman

Also see the season schedule for the Minneapolis - St. Paul region