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Spoiler alert, the N-word is used several times in the Choir Boy. While this derogatory might jerk you out of your theatre seat, what glues your eyes and ears to the stage are the plot, the a cappella numbers and the presence of the boys, yes, the choir boys. While the Choir Boy is the story of Pharus, “a confident and gifted singer who has earned his position as soloist” in the choir of Charles R.Drew Prep School for Boys, we hear and get the voices and stories of four other choir boys. The plot works thanks to the tension, sexual and otherwise, between the five boys and the story blossoms with the a cappella harmonies and solos of the five choristers. 

Choir Boy is written by Tarell Alvin McCraney. McCraney gave us the Oscars and Golden Globes winning Moonlight (2016). Having not seen Moonlight, as cultural significant as it is, parallels with the film will not be drawn here. It is however valid to say that Choir Boy echoes Moonlight’s themes of homosexuality and coming of age. McCraney’s writing is incisive. McCraney’s Choir Boy, which premiered in 2102 at London’s Royal Court Theatre, talks about the delicate balance between the individual versus cultural and social spaces. Those spaces or life moments, like the barber shop, our school days or even family life, that we uphold and reminisce about. Those spaces that became unsafe or those moments that we misremember as homely, warm and safe, simply because the social kink in our personality was exposed is what McCraney confronts us with. Reading McCraney’s entry in the show programme you get the sense that Pharus, the chief protagonist, was the person he wished he, McCraney, had been as a student. McCraney drew from his young experience as well as writing to sooth his younger self.

Through the medium of a cappella the plot addresses some deep questions we would rather ignore. Who or what is your true self in a socially precarious world? How, while being true to and protecting yourself, do you negotiate the globally accepted but mainly unwritten honour codes? While, answering these questions with a cappella, the five men in their chorister roles shine equally. Terique Jarrett is sublime as Pharus, and true to the character he plays more than earns his place as the chief protagonist and lead chorister. All the men got to express a physical presence and an impressive presence it was, most impressive was Michael Ahomka-Lindsay as David, along with his a cappella solo. A standout performance came from Khalid Daley as Junior/JR and this was simply because as well as sing he got to act, sometimes without lines. Daley’s delivery as the nervous and torn between loyalties teenager, in more than one scene was precise, the right expressions, the apt stammer, and the measured gestures.

When this production moves to a larger and more diverse audience, as it should rightfully do, with the music beefed up by a backup choir, elaborate choreography and a sumptuous set there are two things Choir Boy should not lose. First, is that the production stays a cappella. Choir Boy is the most delightful vehicle for a strong melodic voice up for a challenge and this cast of choristers were more than up to the task.

Secondly, and in the spirit of challenges, the production as it is exposed to a diverse audience, should keep the numerous uses of the N-word. A diverse audience will spark debate about its use and validity in today’s Euro-American multi-cultural societies.  Who owns the N-word is one of the questions Tarrell Alvin McCraneys’s Choir Boy asks. This is because who owns the N-word is one question McCraney asks rather subtlety in the Choir Boy. It is when this question is asked that we fully engage with Mr Pendelton, the one white character in the black cast.

Choir Boy is at the Stratford East Theatre until 25 April 2026.