McCraney Takes Artistic Reins At The Geffen

Tarell Alvin McCraney (courtesy photo)

By Darlene Donloe

Tarell Alvin McCraney has built a name for himself in the entertainment industry as an award-winning writer, producer, and educator.

It stems from his commanding written word which includes his acclaimed trilogy, The Brother/Sister Plays and his script In Moonlight Black Boys Look Blue, which was the basis for the Oscar–winning film Moonlight directed by Barry Jenkins, for which he and Jenkins also won an Oscar for Best Adapted Screenplay.  

Not only is he an Academy Award winner, he also scored a Peabody Award for ‘David Makes Man,’ and is a Tony Award (Choir Boy) nominee.

His theatrical background is impressive and extensive.

He is an ensemble member at Steppenwolf Theatre and a member of Teo Castellanos D-Projects in Miami, a graduate of New World School of the Arts, The Theatre School at DePaul University, and the David Geffen School of Drama at Yale.

He received an honorary doctorate from the University of Warwick. He was recently Co-Chair of the Playwriting Program at the David Geffen School of Drama at Yale, as well as Playwright-in-Residence at Yale Repertory Theatre, where he fostered a workshop program at the David Geffen School of Drama. He is an associate at the Royal Shakespeare Company, London, and a member of the Academy of Motion Picture Arts and Sciences (Writers Branch).

His storied career has led to his notable works being presented at prestigious theaters nationwide as part of those organizations’ theatrical seasons.

Recently McCraney took on a new role which now puts him in the driver’s seat when it comes to putting together a full theatrical season.

The handsome multi-hyphenate creative was just named artistic director of the Geffen Playhouse in Westwood, CA., which opened its doors in 1995.

“It’s an honor to take on the mantle of artistic leadership at Geffen Playhouse,” said McCraney. “My connection to the Geffen began with an introduction via Lower Depths Theater Ensemble in 2012 and continued through a production of Choir Boy, and into a residency with Cast Iron Entertainment.”

McCraney said he sees his role as “continuing a legacy of exceptional artistry, reinvesting in the Geffen's unique capability to nurture and support artists, build upon collaborative partnerships including with UCLA, and reach audiences that we share a community with across Los Angeles.”

“I am excited to foster intimate innovation in performance, digging deep into our collective need for live connection here at Geffen Playhouse,” he said.

Noted for its intimacy and celebrated for its world-renowned mix of classic and contemporary plays, provocative new works, and second productions, the not-for-profit organization’s body of work continues to garner national recognition.

McCraney will lead the artistic and production teams and is responsible for programming the venue’s season while setting the strategic artistic course for the Geffen’s Gil Cates and Audrey Skirball Kenis Theaters.

This new appointment didn’t just come out of the blue. McCraney has had a relationship with the Geffen since 2014 when his play, “Choir Boy,” made its West Coast premiere at the Geffen’s Gil Cates Theater.

In February 2020, he was part of the new Geffen Playhouse artist residency announced with Cast Iron Entertainment, a cohort of artists also including Sterling K. Brown, Brian Tyree Henry, Andre Holland, Glenn Davis, and Jon Michael Hill.

(l-r) Tarell Alvin McCraney and Gil Cates, Jr. (courtesy photo)

“I am delighted to welcome and partner with Tarell,” said Geffen Playhouse Executive Director/CEO Gil Cates, Jr. “From Choir Boy to the Cast Iron residency, and now as our new artistic director, Tarell has come full circle with the Geffen and we couldn’t be more excited. First and foremost, he is an exceptional artist and storyteller, and a true visionary with extraordinary ideas for where we can go as a theater, as a home for artists, and as part of the cultural landscape in Los Angeles.”   

A proud, third-generation Miamian, McCraney (TAM) recently sat down to discuss his new gig.

DD: Why did you want this gig?

TAM: It felt like a really wonderful timing between running an audience with an intimate space with artists that span the industry. It felt necessary to bring everybody together. The Geffen is a beautiful space where people who work in television can get foundational with theater arts. It was a great challenge.

DD: Do you like a challenge?

TAM: Yes. I’m used to them. When something is challenging, it piques my curiosity. I find ways that together we can go through things. My better instincts come out when I’m challenged.

DD: Did they come after you or did you seek the gig?

TAM: It was a meet in the middle. I wasn’t looking for an artistic position. I had friends of mine who asked if I might be interested. They said, ‘Hey, what about the Geffen?’ We met in the middle. Me and Cast Iron and Choir Boy had all been working with the Geffen in various ways.

DD: What goes into building the 2024/2025 season?  What kind of season would you like to see?

TAM: We want to make sure our audiences are excited. We have something that says being in a live theater is virtuosic. We want to make sure it grows our community. Folks who have not seen a play can think, ‘I’d like to go and see that.’ We want something that makes a person think, ‘Hey, I didn't know that kind of thing existed.’ There is a lot of consideration around - what are we planning for the year after that? It takes a lot of time to develop new work. What can we look at differently and reintroduce to an audience? Or, what can we do to bring in a new audience?

DD: Why are you the right person for this gig?

TAM: When artists are a part of the artistic leadership, the art does better. That’s why I think what I bring to the table is... Creative artists at the helm means the artists are going to thrive. Not to say that it can’t happen if the leadership isn’t an artist. I’m interested in the Geffen brand.  I want to make sure what the audience gets when they come is engaging, enticing, and inviting.

DD:  Did you bring in your own people or are you using the Geffen staff that was already there?

TAM:  I’m working with the incredible staff at the Geffen. I’m hoping to write my own work.

DD: Really?

TAM: That’s why I took the job. 

Tarell Alvin McCraney (courtesy photo)

DD: In your new role, you will program new works along with re-envisioned classics with a focus on innovative storytelling, community engagement, and audience experience. What do you consider innovative storytelling?

TAM: Innovative can be elusive. For me, I expect audience members who can show us why they might spend $100 or more dollars on a concert and not a theater ticket.

DD: What kind of community engagement and what kind of audience experience?

TAM: A live club disco feeling. In the current show, ‘Every Brilliant Thing’ – an artist guides you through a story. That to me is sacred. That live connection. Believe in the thing you can not see. The uniting of belief is the theater. Keeping it alive is the goal.

DD: What is it about theater?

TAM: I can’t boil it down to one thing. As a young person, I was exposed to it early.  Seeing ‘Revelations’ by Alvin Ailey for the first time – I was in a room where something sacred was happening. Those moments changed my life. We want to walk away like we’ve been through something with someone.

DD: Your responsibilities will include leading the artistic and production teams. Describe how you lead and what kind of a leader you are.

TAM: I try to model leadership. I won’t ask you to do something I won’t do myself. I try to lead from a place of joy. My work ethic is trying to practice a love ethic. Extending myself generously. I have shortcomings. Sometimes my patience isn’t great. Model the things I don’t have and make sure I have someone next to me who has great patience.  We are stronger together than apart. I feel like I’m in great company. The future generation is made rich by having a place where they can do live theater. I have a sense of joy in that.  

DD: You are an award-winning writer, producer, and educator.  What does each one do for you?

TAM: They all interact and touch each other. You can be an artistic director and not have a desire to be a teacher. I want our theater to be a learning space.  Where people can learn.

DD:  Describe the partnership between you and Gil Cates, Jr.

TAM: We tend to get along. He knows the ins and outs of the theater. He has a love for the theater.  We both want to see it grow.

DD: What did you expect from showbiz and what did you get?

TAM: When I first decided I would be an artist, my thought was to be able to feed myself and work with my friends – and I’m able to feed myself and work with my friends.

DD:  Where do you keep your Oscar and The Peabody?  How has it changed your life?

TAM: They were surprising to me. It changes the ability to access. People answer your phone calls. It also makes me focus heavily on the things that don't change.  An Oscar doesn’t make prison term dwindle. A Peabody doesn’t help people in Florida to find homes or not be bullied in school.

DD: Was being an artistic director of a major playhouse on your bucket list?

TAM: No.