Playwright Branden Jacobs-Jenkins and Actress Sojourner Brown talk Purpose on Broadway

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On Broadway, the latest sensation, “Purpose,” breathes life into an impactful story that delves into the intricacies of identity, family relationships, and self-discovery. Since its debut at The Hayes Theater on March 17, this production has spellbound audiences. “Purpose” serves as a powerful demonstration of the transformative potential of storytelling in the grandest of settings. With Branden Jacobs-Jenkins and acclaimed film, TV, and theater producer Phylicia Rashad at the helm, experiencing it is no longer an option – it’s essential.

Purpose”

In 2024, this production made its debut at the Steppenwolf Theater in Chicago. It’s portrayed as a captivating, up-close examination of the powerful and complex Jasper family. Just like any other family, beneath their facade lies hidden turmoil. When the son brings an unexpected companion home, the family is compelled to confront themselves, their beliefs, and their history.

The cast features Kara Young, who won a 2024 Tony Award for her role as Aziza Houston. Also starring is LaTanya Richardson Jackson, nominated for a Tony, playing Claudine Jasper. The ensemble also includes Alana Arenas as Morgan Jasper, Glenn Davis as Solomon “Junior” Jasper Jr., Jon Michael Hill as Nazareth “Naz” Jasper, and Harry Lennix in the role of Solomon “Sonny” Jasper.

This Broadway show boasts scenic design from Todd Rosenthal, costume design awarded to Dede M. Ayite, lighting design by Amith Chandrashaker, and sound design shared by Rob Milburn and Michael Bodeen. The casting is managed by JC Clementz and Calleri Jensen Davis. The production is presented by David Stone, Debra Martin Chase, Marc Platt, LaChanze, Rashad Chambers, Aaron Glick, and Steppenwolf Theatre Company.

Branden Jacobs-Jenkins: Honestly, I let my characters guide me in the writing process. The actors I worked with were truly remarkable, encompassing humor, sincerity, and intellectual depth. Instead of focusing on maintaining a perfect balance, I trusted the characters to tell their own story. If my portrayal is genuine and well-meaning, I hope it captures the raw, authentic complexity of life.

Was there an expectation of change or development from the Steppenwolf production in Chicago, a historically significant theater, to its Broadway adaptation?

BJ-J: Essentially, I believe that more time spent on a project equals better results. August Wilson served as an inspiration for me because he’d tour his plays across the country before they reached New York. Each performance provides a chance to grow and refine both themes and characters. Therefore, improvement should be expected—if it isn’t, then we must have made mistakes. Our goal is not simply to replicate past work but rather to evolve it. We are fortunate to have exceptional actresses like LaTanya Richardson Jackson and Kara Young joining our company, each infusing the ensemble with their distinctive energy. Balancing this diversity within the production can be challenging, but it’s a rewarding aspect of the creative process.

The elephant in the room is that you’re working with Phylicia Rashad!

As a film enthusiast myself, I must say that Phylicia holds a unique place in the realm of theater. Her association with some of the most groundbreaking creative minds is quite remarkable. She was part of the original cast for both “The Wiz” and “Ain’t Supposed to Die a Natural Death.” In fact, she was one of August Wilson’s final sources of inspiration. Her understanding of what it takes to birth fresh work is unparalleled. Having her guide and protect these new creations was indispensable. I’ve worked with directors who found novelty intimidating, but Phylicia wasn’t one of them. She grasped that our mission was to introduce something fresh into the world. She’s been nothing short of inspiring.

BJ-J’s View: I believe it’s impossible to control the audience; they can come from anywhere, even without a ticket. The challenge is not who comes, but what show will appeal to them. Chicago has its unique theater culture, and their audiences appreciate new plays and excellent acting more than New Yorkers do. However, focusing too much on the audience might lead to confusion. Unexpected people may attend, and you’ll have to adapt to their feelings and thoughts. Thus, I try to keep an open mind when considering the audience.

As a devoted cinephile, I can confidently say that the powerhouse ladies Kara [Young] and Alana [Arenas] are at the helm of an extraordinary ensemble. When we gathered for our initial table reading, the atmosphere brimmed with anticipation and excitement. The energy was electric as we collectively dived into the world of our script, each line bringing us closer to the characters we were about to breathe life into.

After spending enough time in the field, I’ve learned that the ultimate goal as a writer is to have talented actors breathe life into your work. This aspiration is a dream come true for me. My ideal scenario is during rehearsals, where I get to witness extraordinary performers like Kara Young, for instance. Just watching the initial five minutes of her performance, even while lightly staging things, left me in fits of laughter! It’s such a delight to be the first one to appreciate her talents. This is why I write – for the experience of observing actors excel at their craft.

Composing compelling characters may appear challenging to some individuals. By any chance, do you draw inspiration for your characters from people you personally know in real life?

As a writer, I primarily rely on my personal memories and life experiences when crafting characters. I strive to immerse myself in their inner thoughts – their struggles, fears, hopes. I always keep in mind what I believe defines us as humans: the unique narratives we create about our lives. What is this character’s story? Even when portraying a villain, I remember that they don’t perceive themselves as such; instead, they see themselves as the hero. So, I focus on highlighting their perspective.

Sojourner, what drew you to this project?

Sojourner Brown: Wow, let me tell you, this play! When my agent sent me the audition script, I was simply astounded by Branden Jacobs-Jenkins‘ words. To me, it ranks among the most significant plays I’ve ever read. The way it portrays a black family is just breathtakingly authentic, and he does so with such nuance, grit, heart, and care. Each character in the script is richly developed, complex, and deep. On top of that, working under Phylicia Rashad’s direction and alongside this stellar cast was an opportunity I couldn’t resist. Honestly, what didn’t pull me towards this project? I was just incredibly grateful to even be considered for it.

As a dedicated film enthusiast, I’ve found myself stepping into roles before, most notably in the captivating musical “Hadestown.” Often, being an understudy can feel like standing in the wings, ready to take center stage at a moment’s notice. My previous experience as an understudy taught me resilience and adaptability, skills I now apply when preparing for my upcoming role in “Purpose.”

The process of preparing for an understudy role is both challenging and rewarding. It involves delving deep into the character, understanding their motivations, and bringing their story to life authentically. For “Purpose,” I’ve been immersing myself in the script, working closely with the director, and observing my fellow cast members to ensure a seamless transition should the need arise. It’s an exciting time, filled with anticipation and growth, and I can’t wait to see how it all unfolds on stage.

In the realm of Hadestown, I studied two roles: Aziza and Morgan. For three years, I also understudied the entire workers’ chorus and the lead role, which was truly an unforgettable journey for me. The time spent at Hadestown feels like being among family, a bond that is deeply cherished. The show and its narrative hold immense significance to me.

As a swing, I felt warmly welcomed and integrated into the company. Fortunately, I haven’t encountered any negative experiences as an understudy yet, which I am incredibly grateful for. This role demands constant readiness, sometimes even at a moment’s notice, such as going on halfway through a show or just minutes before it begins. It’s about mastering flexibility and adaptability while maintaining composure amidst fast-paced changes.

Lastly, being a nerd at heart, I appreciate the opportunity to understand the show from various perspectives.

Each day, it was truly unique to stand on opposite sides of the stage. This allowed me to observe different aspects of the story unfold. The tale conveyed new insights each time, touching me in ways I hadn’t anticipated. Small details from my castmates’ performances caught my eye, subtleties that I’d never noticed before, like an extra touch they added. I find this captivating. My enthusiasm for Purpose is palpable. The characters I play are distinct individuals, each serving as an outsider to the main family in the play without revealing too much of the plot. I’m eagerly looking forward to delving deeper into these two women and crafting my own interpretation of them.

As a devoted theater enthusiast, I’m always intrigued by the swift pace of Broadway rehearsals, which can vary significantly depending on the production. Specifically, I’m eager to know more about your unique experience while preparing for two roles in tandem, especially when collaborating directly with the esteemed Phylicia. How does that rehearsal process unfold under her guidance?

I’ve been striving to immerse myself fully in this play by learning as much as I can about the text, focusing on comprehending the two main roles. I’m aiming to memorize the lines and practice them extensively to grasp the setting and characters of the story. This involves delving into the background of Chicago and understanding what shapes these characters, given that Brandon has incorporated a lot of intricate specifics in the play’s location, era, and people.

Brandon has undeniably set an exceptional foundation for the show. There are also other students in the production, namely Chris Meyers, Petronia Paley, and Esau Pritchett. I’m curious, how does rehearsal go when understudies step in?

We’ve been working together intensively, both in the rehearsal studio and at the theater. For a month, we’ve been practicing together, honing our performance. Now, while the onstage cast performs, we’re backstage, running through the show. We help each other memorize lines, offer support, and even watch from the audience and take notes. It’s wonderful to have this collaborative environment where we can rely on one another during the process.

Fortunately, there’s a wide array of choices on Broadway currently. The range of productions can be seen as quite diverse.The Story We Tell is a unique piece, and I personally appreciate stories about Black families. Such narratives aren’t commonly found on Broadway, making this play feel particularly significant, almost therapeutic. I wonder what an audience member’s reaction might be to this story.

SB: Wow! I’m hoping that spectators find themselves reflected in this play as they watch and engage with it. I’ve certainly felt that connection, both while reading it and performing it. I believe everyone should have the chance to see it. It delves into something universal – family – and explores what can occur when you bring your entire self into a family: your convictions, your values, your faith. It’s about the friction between different elements. I think anyone who attends will recognize a piece of their own family in what they’re witnessing, and I hope that’s the case. I hope people continue to laugh and cry as they have been. Watching the audience respond to this play has been truly moving. By the first preview, we had been working on it for weeks, so to hear the audience’s laughter and see their emotional reactions was incredibly powerful. To receive a standing ovation at the end was astounding – it really infused the play with a tremendous amount of energy. It was truly beautiful.

Take a look at the promotional video titled ‘A Seat At The Table’, which can be found on Purpose On Broadway’s official YouTube channel.

The objective of this event is to honor the vibrant culture of the Divine Nine and HBCUs! If you’re part of the esteemed Divine Nine, don’t forget to purchase your ticket on April 9th at 8 PM. For HBCU alumni, there will be a unique discussion session following the performance on April 15th at 7 PM.

Tickets for the “Purpose” show at The Hayes Theater located at 240 West 44th Street, New York, NY can be secured through July 6th, 2025. To get your tickets, simply visit purposeonbroadway.com.

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2025-04-08 16:15