Tarell Alvin McCraney has won an Oscar, a McArthur Genius Grant, and a PEN Award. He is the playwriting chair at the Yale School of Drama. And, as of January 8, he has officially made his Broadway debut with his Choir Boy. The writer behind In the Moonlight Black Boys Look Blue(on which the Oscar-winning Moonlight is based), The Brother/Sister Plays, Wig Out!, and more brings his singular voice to Manhattan Theatre Club’s main stage at the Samuel J. Friedman Theatre with the play that marked his first commission out of graduate school.

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Extremely talented Jeremy Pope as Pharus, is a golden voiced tenor whose bright eyes are always facing up to heaven and has much to say as he makes his way toward graduation as leader of the gospel choir at Charles R. Drew Prep School for Boys.

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NBC’s live production of Jesus Christ Superstar was pitched to audiences as a “Live in Concert” version, which led some to expect a straightforward performance of the songs. It turned out to be an inventively staged production of Andrew Lloyd Webber and Tim Rice’s rock-and-roll gospel, so passionately imagined that it set a new standard for this type of event.

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Spiraling in the light, fog stealthily transforms schoolboys in their locker room into living sculptures, accompanied only by the insistent atonal plinking of dripping taps in the offstage shower. In the theater, moments like these ravish our senses and happily “Choir Boy” is filled with an arrestingly indelible array.

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When African-American artists “write their own narratives in dance,” as Camille A. Brown put it to the INDY—including the interior facts of their relationships with friends, family, and spouses; their coming of age; and their history in the African diaspora—their bodies are the ink. That’s the first in a series of private truths made public in Brown’s ink, the revised version of which premiered in Durham last week, part of a series of Duke Performances residencies that will bring us Brown’s whole trilogy this year.

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In the immortal words of Cyndi Lauper: Girls, they wanna have fun — and that goes for girls of all colors, the choreographer Camille A. Brown reminds us triumphantly in her 2015 “BLACK GIRL: Linguistic Play,” performed by Camille A. Brown & Dancers at Jacob’s Pillow Dance Festival through the weekend.

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For an in-demand choreographer, Camille A. Brown spends an unusual amount of her time listening and responding to what audiences have to say. Often, what she hears is upsetting. Sometimes the most disturbing comments prove the most useful.

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