Upon initial viewing, Branden Jacobs-Jenkins’ fresh Broadway production, Purpose, seems remarkably similar to his previous work, Appropriate, which offers a provocative twist on beloved white domestic dramas within the theater realm. In both pieces, family gatherings serve as triggers and catalysts for conflicts that rekindle old scars. Hidden truths come to light. Characters shout confessions and hurl insults across rooms and dinner tables. The dialogue flows effortlessly, the insights are sharp, and the impact is profound. A Branden Jacobs-Jenkins play wouldn’t be complete without a touch of witty and humorous chaos.
Rather than focusing on a white family navigating their historical influence in America, the play “Purpose” focuses on a powerful Black political dynasty dealing with a scandal. Directed by Phylicia Rashad, this production delves into a weekend with the Jaspers, a renowned family whose leader Solomon (Harry Lennix) was a significant figure in the Civil Rights Movement. Their home, elegantly designed by Todd Rosenthal, is filled with reminders of his accomplishments – photos of the Reverend posing with prominent activists decorate the walls, and a tribute to Martin Luther King Jr. stands proudly on a mantle. These days, Solomon has turned to beekeeping as a hobby, swapping the pulpit for a steel smoker.
The family gathers late for a birthday tribute to their matriarch, Claudine (LaTanya Richardson Jackson), who’s a devout woman with a sweet demeanor that masks her keen intellect. The occasion coincides with the homecoming of the eldest son, Solomon Jr. (Glenn Davis), who completed his prison term for misusing campaign funds as a state senator. His wife Morgan (Alana Arenas) is present as well; she too will serve time due to her involvement in Junior’s wrongdoings. Since they have young children, their sentences are being served one after the other. The shy youngest son, Nazareth, who works as a nature photographer, reluctantly attends and provides the narrative for the story Purpose.
The Jacobs-Jenkins play, originally commissioned by The Steppenwolf Theatre Company over a decade ago and drawing inspiration from, if not directly based on, Jesse Jackson and his family’s struggles, begins with Nazareth standing under a single spotlight (by Amith Chandrashaker). Throughout the play, he delivers monologues that provide context for the events leading to their return to Chicago. These monologues serve to interweave personal insights about his inner life into the main storyline and, during more challenging moments for the audience, offer a recap of the narrative.
In the opening act of “Purpose,” a consistent mix of humor and pace is maintained. At first glance, it seems reminiscent of “Appropriate,” a play that premiered on Broadway last year and garnered three Tony Awards, leading one to believe it’s merely a reversal. However, as the storyline in the Jasper household unfolds, starting with the arrival of Naz’s friend Aziza, brilliantly portrayed by Kara Young, “Purpose” transforms into something more unique and at times deeply touching.
In the play “Purpose,” by Jacobs-Jenkins, we find a strong thematic connection to his work “The Comeuppance” as both delve into reflecting on the past and comparing it with the present to gain insights about the future. Jacobs-Jenkins skillfully paints a satirical and personal portrait of the Black political elite in “Purpose.” He also grapples with the enduring impact of this legacy, examining the pledges made during the ’60s and assessing their realization (or lack thereof) in today’s 2020s.
Upon arriving at Claudine’s Chicago home, Aziza is mistaken as Naz’s girlfriend due to their queer friendship forged during COVID lockdowns in Harlem. However, it’s important to note that their relationship is purely platonic. In a recent development, Naz has agreed to be Aziza’s anonymous sperm donor so she can achieve her dream of becoming a mother. Being a private individual, Naz hasn’t shared this with his family. When Aziza came to return a phone charger Naz had left in her car, there wasn’t enough time to clarify the situation. Claudine invites Aziza to stay for the birthday celebration, which Aziza, starstruck by the Jaspers, happily accepts.
Over the course of the weekend gaming session, I found myself drawn into the dysfunctional family dynamics of the Jasper household, serving as an observer and a silent participant. Solomon, who tended to his bees with a quiet intensity, seemed distant from his sons, each of whom had failed in their own unique ways to uphold his legacy. Junior, a once respected politician, was now a disgraced figure, grappling with unspoken issues that hinted at potential mental health struggles. Nazareth, on the other hand, had abandoned his divinity studies to pursue photography, capturing the tranquility of lakes – a stark contrast to the turmoil within the family.
In moments when Solomon acknowledges his family, he speaks in a lengthy and formal manner, suggestive of someone accustomed to speaking before large groups. Initially appearing as a loving and stereotypically overprotective mother, Claudine quickly reveals a more strategic cleverness. The subtle direction by Rashad and the nuanced performance by Richardson Jackson give the classic matriarchal character an unexpected personal touch.
The straightforward, melodramatic nature of “Purpose” may catch off guard those familiar with the works of Jacobs-Jenkins, yet its language resonates deeply and, as one character notes, penetrates one’s very core. As the weekend unfolds, taking unexpected twists that neither Nazareth nor Aziza could have foreseen, the dialogues between the Jaspers become increasingly heart-wrenching. Their terse interactions and heated arguments are cries for guidance and mutual comprehension, almost desperate appeals in a search for direction and connection. These conversations echo the monologues at the end of “The Comeuppance,” where audiences contemplate death during a pandemic, wrestling with the meaning of dying. In “Purpose,” Jacobs-Jenkins invites us to ponder what it means to truly live.
Location: Hayes Theater, New York City
Performers: LaTanya Richardson Jackson, Harry Lennix, Jon Michael Hill, Alana Arenas, Glenn Davis
Play Author: Branden Jacobs-Jenkins
Stage Director: Phylicia Rashad
Set Designer: Todd Rosenthal
Costume Designer: Dede Ayite
Lighting Designer: Amith Chandrashaker
Sound Designers: Rob Milburn and Michael Bodeen
Produced by David Stone, Debra Martin Chase, Marc Platt, LaChanze, Rashad V. Chambers, Aaron Glick, Universal Theatrical Group, Eastern Standard Time, Trate Productions, Nancy Nagel Gibbs, James L. Nederlander, John Gore, ATG Entertainment, The Shubert Organization, Steppenwolf Theatre Company.
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2025-03-20 00:55