PURPOSE

This is the first time I've heard the name Branden Jacobs-Jenkins as a playwright; however, after witnessing the masterpiece performance of his play Purpose, I'm sure it won't be the last. Jenkins's brilliance is in his understanding of people and how they connect within relationships. He is an incredible playwright who has written memorable plays, winning the Obie Awards for Appropriate and An Octoroon. His plays, Gloria and Everybody, were finalists for the 2016 and 2018 Pulitzer Prizes for Drama, and Jenkins's first play, "Neighbors," Part of "The Paris Review," dealt with the inflammatory and disturbing topic of black stereotypes through minstrel shows.  Jenkins was looking to discuss the entire history of blackness in theater, which Frederick Douglass described as the filthy scum of white society. Jenkins viewed Neighbors as a research play and never thought anyone would request a reading of the play. Fortunately, this and his other award-winning plays were discovered, leading to the premiere production of "Purpose" at Steppenwolf Theatre, directed by Phylicia Rashad. "Purpose" is sensational; and watching this performance was an unforgettable experience. Even if you are unfamiliar with Jacobs-Jenkins, I encourage you to research his plays and discover the brilliance of his writing. Once you see his work brought to life on stage, you will understand why he is a rising star in the theater world. Jenkins doesn't use a specific person as the antagonist; he uses the issue of dysfunction, and its effect within a family can be a prevalent theme across different backgrounds and social strata. The beauty of Purpose is that it touches the soul of all dysfunctions within us, including turmoil’s within society and things that threaten our inner resilience. In Purpose, Jenkins focuses on a fictional family called The Jasper Family, a pillar of Black American politics for decades. Led by civil rights leader and icon Solomon Jasper, who marched with Martin Luther King, he raised Solomon Jr. to become a prominent congressman and is grooming his son, Nazareth (Naz), to carry on the walk of faith that had been in the Jasper family for generations. The matriarch of the family is his wife, Claudine. Claudine, a lawyer by trade, has chosen to forgo her career to raise their children. On the outside, they were polished to perfection, but within the walls of their home, they had more secrets than Victoria.    

It is a universal truth that every family has its share of secrets, things that they would prefer to keep behind their sanctuary doors.  Narrated by Naz, the youngest son, who returns to his roots in Illinois, he shares the secret issues within the walls of his Jasper household. The father is surprised that their Asexual son has a female friend named Aziza, whom they meet after she returns to give Naz his phone. They collaborate to celebrate during a belated birthday party for their mother and the return of Solomon Jr., who was recently released from jail for embezzlement. Still, no one cares that his wife, Morgan, sentenced to tax evasion fraud, is preparing herself for incarceration. As they prepare to celebrate, things get heated, and tempers flare when the father has a come to Jesus moment, clearing the air and sharing his thorough disappointment about his sons. 

It's hard to single out anyone as all of the actors, Alana Arenas (Morgan), Ayanna Bria Bakari (Aziza), Glenn Davis (Solomon Jr.), Jon Michael Hill (Naz), Harry Lennix (Solomon Sr./Sonny) and Tamara Tunie (Claudine) performed exceptionally. Jon Michael was an incredible narrator. He provided the proper mannerisms and style for laughter when needed and the appropriate touch of sadness and sorrow that pivoted the audience into tears. Hill, one of the fantastic actors in Steppenwolf Ensemble, performed in Steppenwolf's Pass Over, and CBS Elementary showcased his theatrical brilliance as the shy and private Asexual Naz. Alana Arenas, who played the furious wife, Morgan, who hated the Jasper family for causing her to lose her husband's love and years away from her children, had a priceless legendary scheme at the kitchen table. Glenn Davis played the dishonest son, Solomon Jr., who was caught stealing and had the audience believing his sincerity of a changed life until his ethical, unethical father reminded him of his unscrupulous ways. Tamara Tunie, distinguished body of work that encompasses stage, television and film and known for her role as medical examiner Melinda Warner on Law & Order, was as spectacular as Mommy Jasper; making you reflect on your fears if and when (God forbid) your mother learned about your secrets. Another sensational actor is Ayanna Bria Bakari. She has delighted audiences in many productions by providing outstanding performances in plays such as Relentless (WIT and Goodman Theatre), Too Heavy for Your Pocket (TimeLine Theatre), How to Catch Creation (Goodman Theatre); Stickfly  (Writers Theatre), and Steppenwolf Theatre Company: Last Night and the Night Before. Bakari is a theater dream actor, and she consistently gives you 100%. 

Last but not least is Chicagoan Harry Lennix, who is incomparable. Lennix, as the civil rights leader, preacher, and pastor, had me smiling as a preacher myself regarding his strong belief in following God and his unyielding passion for the movements of his time. His staunch approach against society's wrong and his unwillingness to waver even if his family went against his Godly stance was confirmation to my ears. But his unforgiving heart and infidelities (covered by his son) tainted his walk and his faulty perspective of Godly morals, the idiom "pot calling the kettle black." Still Lennix is a tresure. Brenda and I had the pleasure of interviewing Lennix during the filming of 72 Hours, and he is one of the best and kindest people on earth. Lennix, a renowned film, television, and stage actor and producer, has been seen in numerous productions. However, one of my favorites was seeing him as Harold Cooper in NBC's, The Blacklist. And who could forget his premier breakout role in The Five Heartbeats, as Dresser, directed by Robert Townsend and Ray, as Joe Adams? With a cast of great actors, you have to bring in a great director, and Two-time Tony Award winner Phylicia Rashad fits the bill. She masterfully directs this astonishing narrative of the legacies of Black radicalism to perfection. I'm not sure what kept her from jumping on the stage to get into the incredible production, but I'm sure her internal acting spirit was leaping to get into the impressive play. Special mention goes to Chicago Associate Director Tyrone Phillips, founding Artistic Director of Chicago's Definition Theatre Company, for his contribution to Purpose. Note of Chicago; Phillips is a rising star with an excellent eye for talent. Notable mentioned to Todd Rosenthal (Scenic Design), Laura D. Glenn, and Jaclynn Joslin (Production Stage and Assistant Stage Manager). They deserve high praise for their exceptional work in creating a vivid and realistic interior view of Jasper's home. Through their meticulous attention to detail, they created an immersive environment that perfectly captured the essence of the play, allowing the audience to feel as if they were right there in the room with the characters. Overall, their contributions played a pivotal role in bringing the production to life.

Now for the elephant in the room. As we strolled the outer halls of the theater after Purpose was over, whispers were in the air that the Jasper family somewhat resembled Chicago's prominent Jackson family. Although there is no mention of its similarities, direct recognition, comments, remarks, or anything suggesting that Branden Jacobs-Jenkins knows about the family, you would be disingenuous not to see its comparable family lifestyle. Still, it's not an autobiographical story about this family, and it's not the first nor last situation where the events of a family will be used as a fictional element within a production. 

What Purpose does is beautifully deliver the tragic history of family dysfunction and a touching portrayal as poignant. Braden Jacobs-Jenkins has a masterpiece in his hands. Purpose will rip your soul apart while making you reminisce about the trauma we all experience within our families. Unfortunately, we seldom witness the brilliance of African-American playwrights' exceptional stories about our people, especially new voices in theater. And although I love August Wilson, Langston Hughes, and James Baldwin (I haven't seen much in theaters from the ladder two), we need more theaters opening their doors to the likes of Suzan-Lori Parks, James Ijames, Lynn Nottage, Loy A. Webb, Antoinette Nwandu, Ntozake Shange, and Branden Jacobs-Jenkins. We should universally trust skillful and talented African-American directors to direct plays regardless to their origin. It's inspiring to see African American stories brought to the forefront. It's incredible how a production can break your heart while simultaneously healing it. Jenkins's complex family dynamics play Purpose is that kind of play. It's a powerful, moving play with a remarkable, diverse story that can easily succeed on Broadway. This poignant African American tragedy, filled with compelling individual and family drama, is enthralling, illuminating, and uplifting. 

Look out, Broadway. Here comes a play with Purpose. 

⭐⭐⭐⭐

Steppenwolf Theatre Co.

Purpose

By Branden Jacobs-Jenkins

Directed by Phylicia Rashad

Extends Through May 12, 2024

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