REVIEW: You’ll Leave Churched - Choir Boy Shines at Trustus Theatre By Jane Turner Peterson

I’ve been churched—and I loved it. That’s the only way to describe Trustus Theatre’s electrifying production of Choir Boy, a play with music that bursts with life, laughter, conflict, and harmony. Directed and choreographed by Terrance Henderson, this production is a moving, joyful, and thought-provoking journey that should not be missed.

The play begins at the Charles R. Drew Prep School for Boys, an elite all-Black academy. It’s graduation day, and Pharus (John Ballard), a flamboyant and gifted junior, is chosen to sing a solo. When his performance is disrupted by Bobby Marrow (Jlynn Montgomery) and his sidekick Junior (Jamal Davis), who sling racial and homophobic slurs, Pharus falters. But in a dazzling recovery—equal parts comedic and defiant—he riffs his way through the interruption, instantly capturing the audience’s admiration. Ballard’s performance sets the tone for the evening: witty, vulnerable, and utterly captivating.

As the new school year begins, Pharus is named leader of the choir, sparking conflict with Bobby. Their battle of wills plays out against the larger expectations of Headmaster Marrow (William Paul Brown), who struggles to discipline his nephew Bobby while remaining fair to Pharus. Brown brings both authority and humanity to the role, portraying a man who is equal parts stern administrator and conflicted guardian.

The student ensemble is a highlight of the show. Montgomery gives Bobby a fiery intensity, making him more than just a bully—his commanding vocals and emotional depth reveal the layers beneath the bravado. Davis, as Junior, captures the hesitancy of a follower caught between loyalty and conscience. Jonathan Adriel’s AJ, Pharus’s loyal roommate, is portrayed with warmth and sensitivity; his friendship with Pharus is one of the production’s most touching threads. Daniel Mason shines as David, the deeply religious student torn between faith and desire. Mason’s vocals are rich and heartfelt, and his emotional honesty gives his performance a memorable weight.

Adding depth and humor to the mix is Larry Hembree as Mr. Pendleton, a guest professor who challenges the boys to think critically and independently. Hembree’s performance is a welcome blend of charm and gravitas, bringing levity to tense moments while grounding the story in its themes of growth and change.

The music of Choir Boy is its heartbeat, and under the musical direction of Kristin Claiborne with arrangements by Katrina Garvin, it soars. The cast delivers rousing renditions of spirituals like Eyes on the Prize and Sometimes I Feel Like a Motherless Child, alongside modern selections like New Edition’s Can You Stand the Rain. The harmonies are powerful and deeply moving—sometimes jubilant, sometimes haunting, always resonant. The music is not just accompaniment but storytelling in its own right, carrying the history, faith, and struggles of the characters.

Henderson’s direction and choreography tie it all together with artistry and precision. His infusion of prayer dance and stylized movement elevates the production, turning moments of conflict and celebration into something almost transcendent. The staging is fluid and alive, reinforcing the themes of identity, resilience, and community.

At nearly three hours, the production is a full evening of theatre, yet it never feels long. The pacing is sharp, the performances captivating, and the music unforgettable. By the curtain call, the audience is left exhilarated, reflective, and deeply moved.

Trustus Theatre has delivered a production that is both entertaining and meaningful. Choir Boy doesn’t just tell a story—it invites its audience to feel, to question, and to celebrate. In the end, you don’t just watch the show—you experience it. And when it’s over, you too will feel that you’ve been churched.

Choir Boy runs through October 12 at Trustus Theatre. Tickets are available at trustus.org or by calling 803-254-9732. Don’t miss the chance to be part of this extraordinary experience.

REVIEW: Trustus Theatre's People Places & Things by Kristine Hartvigsen

The Trustus Theatre stage play People, Places & Things by English playwright Duncan Macmillan is not feel-good entertainment. But don’t let that stop you from seeing it. 

It isn’t pretty, this sobering depiction of the messy, meandering journey from drunken debauchery to addiction to detox to denial to relapse to denial to acceptance to the beginnings of lifelong recovery.  

The play follows Emma, a troubled actress, through the process of acknowledging her debilitating addiction to drugs and alcohol. Portrayed with authenticity and skill by Christine Hellman, Emma is a drunken, self-absorbed mess who suffers from imposter syndrome on the stage. As a result, she is crippled by self-doubt and has difficulty distinguishing between her stage roles and her often mind-bending, party-filled reality. “If I am not in character, I am not sure who I am,” Emma reveals. 

The most riveting scenes in People are when Emma is agonizing through detox. She shakes and writhes and suffers a terrifying madness complete with hallucinations as many versions of herself emerge repeatedly from her hospital bed like cloned apparitions also seizing and retching and screaming in pain. All the Emmas together reach a cacophony of terrifying volume.  

Incredibly compelling stage design, lighting, and sound convey the emotion and multi-sensory torture Emma experiences. Background screens run video behind the actors that further strengthen the performance. Recorded sound, including broadcast static and echoing narratives, as well as flashing overhead lights contribute to the feelings of confusion and mania. 

When Emma expresses that the therapist and administrator of the facility cannot possibly understand what she and the other patients are going through, it is poignantly revealed that each themselves is a longtime recovering addict.  

In her alternating roles as doctor, therapist, and “mum” to Emma, Erin Wilson is believably straightforward, authoritative, and empathetic as group therapy facilitator. Josh Kern is equal parts likeable and knowing as the rehab facility’s administrator Foster. Each patient’s story adds depth and complexity to the multi-faceted struggles of recovery. Some of the therapy role-play scenes dragged some but included notable performances from William Paul Brown and Alex Malvern

While Emma’s first attempt at inpatient rehab fails, she has taken the lessons of therapy to heart and finds her way back to pick up the pieces once more. In trying to rationalize her substance abuse, Emma says things common among addicts like: “I needed something to take the edge off,” and “drugs and alcohol have never let me down.”  

There are moments of needed comic relief that emphasize the subtle contradictions inherent in the culture of substance abuse. In one nonsensical scene, the patients almost competitively spit out stories demonstrating how much more “fucked up” they are than the others — as if there was a certain dysfunctional pride in fucked-up-edness.  

Ultimately, the patients agree contextually that “The problem is not us; it’s the world.” However they also take responsibility for their behaviors and find comfort in realizing “We’re all the same.”  

Director Dewey Scott-Wiley is to be commended for delivering a brilliant play that bravely takes on an ugly topic with empathy and wit. The entire cast performing in People tackle unflattering and starkly challenging roles to tell an insightful story that touches nearly every American family on some level.  

The play does end on a positive note, with Emma acknowledging the “gift of desperation” and — having done the work — eventually resuming the necessary practice of going to auditions. This recovery milestone shows that it is possible to return to some semblance of a normal life. This revealing play is well worth seeing.

 

People, Places & Things (produced in partnership with LRADAC and The Courage Center) runs at Trustus Theatre through Oct. 12.