Branden Jacobs Jenkins was preparing for his first Met Gala Monday afternoon.
The Pulitzer Committee described “the purpose” as “a play about the complex dynamics and heritage of middle-class African-American families,” praised it as “a skillful blend of drama and comedy examining how different generations define heritage.”
Other finalists were Cole Escola's “Ah, Mary!”, who also runs on Broadway, and Itamar Moses' “The Ally,” who ran off-Broadway at the Public Theater last year.
Jacobs Jenkins, 40, was a Pulitzer finalist twice previously for 2016's “Gloria” and 2018's “Everyone.” Last year he won a Tony Award for “appropriate.” In 2016 he also won a so-called genius grant from the MacArthur Foundation.
He grew up in Washington, DC and now lives in Brooklyn. “Octoroon” and “The Comeppance” are one of his other well-received works.
Director Phylicia Rashad's “Purpose” was first performed last year by Chicago's Steppenwolf Theatre Company and commissioned the play. Jacobs Jenkins wrote it for the actors in the company. The Broadway production opened in March and was nominated for six Tonys, including Best Play.
In an interview Monday afternoon, Jacobs Jenkins spoke about the plays, awards and his own purpose. These are excerpts from the conversation.
What is “purpose”?
“The Purpose” is a play about black politicians. It's a family drama. Six actors and six characters. And I think it's interesting.
And what is the importance of the title?
That's a very grand word. For so many people, it means the purpose, the intention of life. It's a word you've heard decades ago, and since you hear less now it has a slightly outdated sheen to it.
And what do you think is your purpose?
If life is a constant search for purpose, Michael?
You were a finalist twice before –
Yes, I lost twice.
How about finally winning?
That feels great. You write a play, and you don't know what will happen to it. And although this wasn't necessarily what I saw coming, I would welcome it. I'm overwhelmed.
You have this accomplished career in a more experimental and avant-garde world, and now you've worked on Broadway for a few seasons. How did that change your acceptance of work?
On one level, I feel lucky to be able to bring the audience. The venue is a bit bigger, but I was in the smallest home, so when I came to consider myself a Broadway playwright, I hope my supply isn't too high. But I really enjoy radical audiences. I really don't know who'll be showing up on Broadway. And who knows – for everything I know, I'm doing cabaret in a year.
You wrote this play for Steppenwolf, especially for members of that acting company.
It's like a world-leading ensemble of acting. And looking at their roster, it was Cadillac after the great American actor Cadillac, and it was able to write in their voices, and its skill level was totally treat.
Why do you write plays?
At this point, it's a life call. There's something in this very old form that continues to inspire me. I'm always thinking about it. I love teaching that. It is a very interesting old technology we have, allowing strangers to gather and trust, weigh their values in this space and worship at the altar of stories. I think it's very moving.
What do you think about the state of playwriting in America?
The playwriting is great. I'm even more nervous about the theatre itself. We feel that we are experiencing a kind of golden age of American writing heading into the stage, but it's sad to see how much our nonprofits are still struggling after the pandemic.
Do you know what your next play will be?
Well, the next thing I'm writing about is the “Purple Rain” musical. That's what I'm eating that part of my brain right now. I really don't know what the next play will be, but I'd like to go back to writing.
Does “purple rain” feel like a wild departure?
absolutely. In some respects, it doesn't even write – like I have to do a crossword puzzle with a catalog of incredible songs that have never been written in old movies and musicals. So, it's kind of a brain teaser, but it's fun and it's so great to spend this time with this material. Prince was clearly a Mozart of our time, so it was very rewarding.
And will you go to your first Met Gala tonight?
I. As we speak, people literally put things on me. It's the most surreal day ever.
What are you wearing?
I think it's a mess of Michael Kors and others. Fashion is not about me. I really enjoy being part of this.
