‘PURPOSE’: (left to right) LaTanya Richardson Jackson, Glenn Davis, Kara Young & Jon Michael Hill. Photo: Marc J. Franklin.

PURPOSE
By Branden Jacobs-Jenkins
Directed by Phylicia Rashad
Through August 31, 2025
The Helen Hayes Theater
240 W 44th St.
https://purposeonbroadway.com/

By Scott Harrah

Playwright Branden Jacobs-Jenkins won the Tony Award for Best Revival of a Play last year with the hit dysfunctional-family drama Appropriate. Now, he’s scored with another engrossing blockbuster about a toxic family, Purpose.

The story focuses on the famous Jaspers, an influential, affluent African-American family in Chicago. The Jaspers are renowned for their political influence and religion. Patriarch Solomon “Sonny” Jasper (Harry Lennix) is a former Civil Rights leader who now works as a pastor and beekeeper. He and his affable but tough-as-nails wife Claudine (LaTanya Richardson Jackson) have both helped the Jasper family make a good name for themselves, and they will do anything to maintain their respectable image. Claudine has a law degree, but she doesn’t really practice law and instead works as a socialite for human rights and various Black causes.

Meet the Jasper family

Purpose unfolds with narrator Nazareth or “Naz” Jasper (Jon Michael Hill) as he just returned home from New York with uninvited friend Aziza (Kara Young).  Naz is the youngest son and has dropped out of divinity school. He explains the family’s many shortcomings and the conflicts that ultimately result when everyone gets together for a reunion.

The play has ongoing themes of social prominence, social and racial justice, identity and faith. The story is not exactly anything new or original, but it rings with veracity and reality regardless.

Highbrow soap opera

The story unfurls like a highbrow soap opera as we meet the many troubled and flawed family members.

First, there’s Junior (Glenn Davis), the older son and politician who has just been released from prison after being convicted of mismanaging campaign funds. His fashionable wife Morgan (Alana Arenas) is in trouble and will soon do time behind bars for helping her husband with his crime.

The other character, Aziza, is not a family member. She’s the high-spirited, earthbound outsider from Harlem and is initially impressed by meeting the famous Jasper clan, but she soon learns the family is not as glamorous as they seem.

Dysfunctional dinner

Sparks fly when everyone sits down to dinner and Junior starts talking about incarceration reform. Sonny is not pleased that his oldest son has little interest in carrying on his legacy. The father is also unhappy that Naz has decided to become a nature photographer instead of a pastor.

When questions about Naz’s sexuality are raised, Aziza reveals that she is hoping to have a child with him, but marriage is not in the plans because she only wants Naz as a sperm donor. It would be unfair to reveal anymore because what’s most enjoyable about Purpose is hearing all the juicy secrets the family members reveal though arguing, complete with razor-sharp dialogue that is crisp, biting and often hilarious in a dark way.

Lies & deceit

The story is about the lies and deceit famous families spin, all to keep up appearances and maintain good PR in the media. The Jaspers could be the African-American Kennedys, and Sonny is a composite of the Reverend Jesse Jackson, the late Dr. Martin Luther King Jr. (Dr. King’s portrait hangs prominently in the Jaspers’ living room) and countless other Civil Rights leaders.

Seamless direction & great cast

The show has so many good elements, from the outstanding scenic design of Todd Rosenthal to Phylicia Rashad’s seamless direction. Ms. Rashad gets great performance from everyone in the gifted cast.

Harry Lennix is perfect as Solomon, with his imposing voice and command of the stage. LaTanya Richardson Jackson is equally powerful as his scheming and manipulative wife, Claudine.

Jon Michael Hill is best known for his roles on the network TV shows “Elementary,” “Detroit 1-8-7,” “Law and Order: SVU” and the HBO series “Eastbound and Down.” As a stage actor, he is first-rate, acting as both narrator and the youngest member of the Jasper family. His scenes between his father Solomon and with older brother Junior are consistently convincing and sublime.

Superb supporting cast

Supporting cast members are all excellent as well. Glenn Davis is always riveting as the failed politician Junior. As long-suffering wife Morgan, Alana Arenas gives a knockout performance. Her shouting match at the dinner table is one of the show’s highlights, and she commands instant respect—and fear—when she has a meltdown.

Tony Award winner Kara Young (who won Best Actress for a Featured Role in a Play for Purlie last year) proves she’s a rising star to keep watching on Broadway. Ms. Young manages to make her character Aziza one of the only sane people in the show. She also has some of the best lines and dialogue, delivering them with aplomb and getting many laughs from the audience.

The play was originally produced by Steppenwolf Theatre Company in Chicago, and Purpose deserves a decent run on Broadway. It’s an insightful, sometimes over-the-top but never dull evening of family drama at its best.

Published March 24, 2025
Reviewed at press performance on March 20, 2025

‘PURPOSE’: Jon Michael Hill & Harry Lennix. Photo: Marc J. Franklin.

‘PURPOSE’: Jon Michael Hill & Glenn Davis. Photo: Marc J. Franklin.

‘PURPOSE’: Kara Young. Photo: Marc J. Franklin.

‘PURPOSE’: Jon Michael Hill. Photo: Marc J. Franklin.

‘PURPOSE’: LaTanya Richardson Jackson. Photo: Marc J. Franklin.

‘PURPOSE’: Alana Arenas & Kara Young. Photo: Marc J. Franklin.

‘PURPOSE’: Harry Lennix. Photo: Marc J. Franklin.

‘PURPOSE’: Jon Michael Hill, Kara Young & Harry Lennix. Photo: Marc J. Franklin.

‘PURPOSE’: Glenn Davis & LaTanya Richardson. Photo: Marc J. Franklin.

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‘THE MINUTES’: (center) Noah Reid & (left to right) Jesse Mueller, Jeff Still, Tracy Letts & Cliff Chamberlain. Photo: Jeremy Daniel.

THE MINUTES
Written by Tracy Letts
Directed by Anna D. Shapiro
Through July 24, 2022
Studio 54
254 West 54th Street
New York, NY 10019
(212-239-6200), www.TheMinutesBroadway.com

By David NouNou

Our Town gone awry.

Tracy Letts is a timely and a wonderful playwright but also a theatrical provocateur. Not that these can’t go hand in hand; just look at the likes of Tennessee Williams and Edward Albee. His ideas and the way they unfold are brilliant but they can go too far in the end. The adage that “less is more” certainly applies to Mr. Letts. At times, he needs a strong director to smooth out the extreme rough edges. Mr. Williams had Elia Kazan, Mr. Albee had Alan Schneider, and Mr. Letts needs a stronger director who doesn’t just rubber stamp what he writes in a script.

At a city council meeting room in Big Cherry (any town west of New York City and east of LA) USA, a meeting is about to convene. Brian Peel (Noah Reid of Schitt’s Creek fame) has just returned from his mother’s funeral in California, and being offered condolences from Mayor Superba (Tracy Letts) along with the rest of the council members. Peel wants to know about the minutes that took place the week before while he was out and the missing member Mr. Carp (Ian Barford). Starting with the council secretary, Ms. Johnson (Jesse Mueller) to senior members Ms. Innes (Blair Brown) and Mr. Oldfield (Austin Pendleton) to junior members Mr. Blake (K. Todd Freeman), Mr. Hanratty (Danny McCarthy) and Mr. Assalone (Jeff Still) all give him small talk, runarounds and exchange pleasantries but no one will give him a straight answer about the “unwritten yet” minutes or the whereabouts of Mr. Carp and why he is not at the meeting.

The play goes into high gear (often hilarious) once each councilman starts talking about grievances and the bill they want to pass. The mayhem probably takes place at any council meeting, but this one goes even further by re-enacting for Mr. Peel the heroism that took place in bringing the existence of their town Big Cherry to life replete with American soldiers, Native American Indians, and the Farmers Family.

Once the digging goes beneath the surface, it uncovers America’s soul and the sanitizing of history that has and is currently taking place, in places like Florida, Oklahoma or in any town, state or school that represses history. Mr. Letts has written a chilling play that is profound and mirrors the “good” folks and mayors in small-town America today.

As always, Mr. Letts has written meaty roles for an excellent ensemble cast whose names I’ve listed earlier. Each has a unique role: Mr. Letts’ mayor is a shark with a no-nonsense attitude. Noah Reid, making his Broadway debut, is perfect as the idealistic councilman (he may remind one of James Stewart in Mr. Smith Goes to Washington). Austin Pendleton as the oldest grousing councilman is a scream. Ian Barford, Blair Brown, K. Todd Freeman, Danny McCarthy, Jesse Mueller, and Jeff Still all lend their talents to elevate this ensemble.

There is a “but” here, and the but is how Mr. Letts chooses to end his plays. There were a couple of possibilities of ending this play satisfactorily without outrageous theatrics involved. This is where director Anna D. Shapiro should have stepped in to polish these rough edges with some fine-tuned editing and still made it a remarkable evening in the theatre. Just as he did in his epic work August: Osage County, Mr. Letts has a lot to say about the uncomfortable taboo topics in everyday American life.

Edited by Scott Harrah
Published April 21, 2022
Reviewed at April 20, 2022 press performance.

‘THE MINUTES’: Jesse Mueller & Noah Reid. Photo: Jeremy Daniel.

‘THE MINUTES’: Tracy Letts & Noah Reid. Photo: Jeremy Daniel.

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‘LINDA VISTA’: Ian Barford & Caroline Neff. Photo: Joan Marcus

LINDA VISTA
Written by Tracy Letts
Directed by Dexter Bullard
Through November 10, 2019
Helen Hayes Theater
240 West 44th Street
(212-541-4516), https://2st.com/shows/linda-vista

By David NouNou

Tracy Letts as a playwright wrote the legendary epic August: Osage County, and as an actor he has given a definitive portrayal of George in Who’s Afraid of Virginia Woolf? I mention this because he is so good at everything he does. Whether on the screen or on stage, his performances ring true, but as a playwright he can be hit or miss. His Broadway follow-up to the illustrious August: Osage County was Superior Donuts—which at best was a disappointment. His current Linda Vista falls somewhere in between.

There is no doubt that Mr. Letts can write interesting, complex and flawed characters. The first act of Linda Vista is actually quite funny: a divorced man, Wheeler (Ian Barford), 50 and with a hip problem, is just moving to his new San Diego digs with the help of his best friend, Paul (Jim True-Frost). Wheeler is having a hard time adjusting to moving out of his ex-wife’s garage and leaving his troubled teenage son. This opening sets up Wheeler as an erudite but rigid know-it- all, and messed up. I mean really messed up. The exchange between the two is quite clever. Wheeler is in a dead-end job working as a camera repairman; he used to have ambitions to be a great photographer. Paul is concerned that Wheeler is not getting out much, so he fixes a double date with him and his wife, Margaret (Sally Murphy) and introduces the guy to Jules (Cora Vander Broek). They all go out to a karaoke singalong at a local bar.

With mixed feelings, Wheeler hits it off with Jules and they end up having a hysterical night of sex (hysterical for the audience), when in the middle of their second go round in walks Minnie, (Chantal Thuy), a 20-year-old pregnant Vietnamese next-door neighbor who has been thrown out of her apartment and has nowhere to go but ends up at Wheeler’s doorstep.

It’s in the second act that mayhem ensues. As in August: Osage County, no one comes out unscathed. The devastated and flawed have to pick up the pieces in their own way to survive, but somehow Wheeler keeps sinking lower to the point of losing his job. Maybe in the end he can start re-finding his redemption through his love of photography.

Mr. Letts knows how to write about white male flawed characters well, and his characters are extremely realistic. They have the same problems we do, but they have the nihilistic gene that thankfully most of us don’t have. The scenes are well written but director Dexter Bullard does not do an adequate job of editing the text. Scenic designer Todd Rosenthal has created a great set of the Linda Vista apartment complex in San Diego and various nearby locations, but again Mr. Bullard doesn’t utilize the scenes to properly fuse them into each other; the scenes just run into each other.

Cora Vander Broek—who until recently has been hidden away from Broadway in the hinterlands—is marvelous. Her Jules is heartbreaking. Having just broken up with a jerk and being quite vulnerable, she is a self-help “life coach” motivator on the rebound who thinks she has a good shot with Wheeler. Her breakup in the restaurant with him is shattering and crumbling. Just keep an eye on her self-respect moment towards the end; she speaks for every woman who has been scorned by a jerk and can move on with her head held high.

In the central role of Wheeler, I kept envisioning the charismatic Mr. Letts in the part of the disillusioned, washed-up wastrel.  A part like Wheeler needs an enigmatic actor who can be such a sh*t and still see the error of his ways and might find redemption in the end. Mr. Barford supplies Wheeler with the trappings of a heel, but can’t get us to hope for his ultimate salvation

Sally Murphy as Margaret gives a scorching performance in the second act, berating Wheeler for the person he is becoming.

There is a lot of good material in Linda Vista but with uneven writing and directing, it’s harder to roll the boulder up that mountain of empathy for a guy like Wheeler.

Edited by Scott Harrah
Published October 16, 2019
Reviewed at October 15, 2019 press performance.

‘LINDA VISTA’: Cora Vander Broek & Ian Barford. Photo: Joan Marcus

‘LINDA VISTA’: Jim True-Frost & Sally Murphy. Photo: Joan Marcus

‘LINDA VISTA’: Chantal Thuy & Ian Barford. Photo: Joan Marcus

‘LINDA VISTA’: Cora Vander Broek & Ian Barford. Photo: Joan Marcus

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EXQUISITE ENSEMBLE: The outstanding Julie White & Carolyn Braver, with (background) Scott Jaeck in ‘Airline Highway.’ Photo: Joan Marcus

AIRLINE HIGHWAY
By Lisa D’Amour
Directed by Joe Mantello
Samuel J. Friedman Theatre
261 West 47th Street
(212-239-6280), www.AirlineHighwayBroadway.com

By Scott Harrah

Take every misfit plagued with misfortune from such Tennessee Williams plays as Vieux Carré, set the scene in modern-day, post-Katrina New Orleans and you have Lisa D’Amour’s innovative, beautifully acted but ultimately contrived Airline Highway, which recently opened on Broadway after a successful run by Chicago’s Steppenwolf Theatre Company. This drama full of colorful, down-on-their-luck characters has a lot going for it, but the problem is we have seen variations of these Big Easy personalities and their sad lives before.

Set in the parking lot of the seedy Hummingbird Motel, on Airline Highway in New Orleans (hence the show’s title), the story centers on a group of people gathering for a funeral for burlesque club grande dame Miss Ruby (Judith Roberts). Miss Ruby is gravely ill but isn’t dead yet, and her friends want to throw her a high-spirited funeral party/wake before she passes.

Nearly all the characters are stereotypes, but are exquisitely acted regardless. The standout is Broadway veteran Julie White as Tanya, an aging prostitute who lives in the rundown motel (along with many others). Tanya is the quintessential “hooker with a heart of gold,” and Ms. White portrays her with a raw sincerity that makes the character truly heartbreaking.

Equally exemplary is K. Todd Freeman as Sissy Na Na, a spunky African-American drag queen who is wise and lovable. Included in the ensemble are Krista (Caroline Neff), a stripper; Wayne (Scott Jaeck), the motel manager; Bait Boy (Joe Tippett), a former New Orleans resident who has returned from Atlanta (where he’s shacked up with a rich sugar mama) to pay last respects to Miss Ruby; and Bait Boy’s girlfriend’s teenage daughter Zoe (Carolyn Braver), a high school student working on a sociology project on subcultures.

Act One moves along briskly, as characters prepare for Miss Ruby’s funeral later in the day and talk about their troubles. Scott Pask’s lifelike set—showing everything from trash strewn everywhere to glimpses into the motel rooms (complete with cartoons on TV sets and people in the shadows smoking, etc.), and a sign advertising rates as low as $34.99—captures the decay of the surroundings well. At times, several characters talk at once, so we see multiple conversations going on simultaneously. While this adds a remarkable sense of realism, it also becomes distracting to the audience, and that’s a problem in a play this unfocused.

By Act Two, things start out lively, with everyone sporting Mardi Gras beads and grooving to jazz music, but the show soon takes a predictable turn. Characters get drunk and high, eat junk food, and truths are revealed. The dreary tone becomes repetitious, but director Joe Mantello makes the most of things with the talented cast.

Like the Tennessee Williams plays playwright Lisa D’Amour emulates, Airline Highway has lots of florid, poetic dialogue, including a rambling, philosophical soliloquy by Miss Ruby herself (she doesn’t come onstage until well into Act Two). Unfortunately, the crisp dialogue and first-rate performances are not enough to make us overlook the overall feeling of dramatic déjà vu and the timeworn sentimentality of the play.

YOU GO, GIRL: K. Todd Freeman & company of ‘Airline Highway’. Photo: Joan Marcus

NEW ORLEANS MISFITS: Caroline Neff & company of ‘Airline Highway’. Photo: Joan Marcus

PARTY GIRLS: A scene from ‘Airline Highway.’ Photo: Joan Marcus

CATCHING UP WITH PEOPLE FROM THE PAST: (left to right) Caroline Neff, Joe Tippett & Carolyn Braver. Photo: Joan Marcus

GREAT ENSEMBLE: The cast of ‘Airline Highway.’ Photo: Joan Marcus

TANYA, THE PROSTITUTE & MOTEL MANAGER WAYNE: Julie White & Scott Jaeck. Photo: Joan Marcus

Edited by Scott Harrah
Published April 27, 2015
Reviewed at press performance on April 26, 2015

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