Branden Jacobs-Jenkins was getting ready for his first Met Gala on Monday afternoon when he got the news: his latest play, “Purpose,” which is now on Broadway, won this year’s Pulitzer Prize for drama.
The Pulitzer board described “Purpose” as “a play about the complex dynamics and legacy of an upper middle class African-American family,” and praised it as “a skillful blend of drama and comedy that probes how different generations define heritage.”
The other finalists were Cole Escola’s “Oh, Mary!,” which is also running on Broadway, and “The Ally,” by Itamar Moses, which had an Off Broadway run last year at the Public Theater.
Jacobs-Jenkins, 40, has been a Pulitzer finalist twice before, for “Gloria” in 2016 and for “Everybody” in 2018, and 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, D.C., and now lives in Brooklyn. “An Octoroon” and “The Comeuppance” are among his other well-received works.
“Purpose,” directed by Phylicia Rashad, was first staged last year by Steppenwolf Theater Company in Chicago, which had commissioned the play; Jacobs-Jenkins wrote it for the company’s actors. The Broadway production opened in March, and has been nominated for six Tonys, including best play.
In an interview Monday afternoon, Jacobs-Jenkins talked about the play, the prize and his own purpose. These are edited excerpts from the conversation.
What is “Purpose”?
“Purpose” is a play about a Black political family; it’s a family drama; six actors, six characters. And I guess it’s funny.
And what is the significance of the title?
It’s such a grand word. For so many people it means purpose in life, intention. It’s a word that I think you heard a lot many decades ago, and you hear less now, so it has a slightly antiquated sheen to it.
And what would you say is your purpose?
What if life is a constant search for purpose, Michael?
You’ve been a finalist twice before —
That’s right, a two-time loser.
What’s it like to finally win?
It feels amazing. You write a play and you don’t know what’s going to happen to it. And this was not necessarily something I saw coming, but I welcome it. I’m overwhelmed.
You’ve had this accomplished career in the more experimental and avant-garde world, and now you’ve been working on Broadway for a couple of seasons. How has that changed the reception of your work?
I do feel like, on some level, I’ve been lucky enough to bring my audience with me. The venues have gotten slightly bigger, but I’ve been in the smallest house, so I’m hopefully not too high on my own supply when I come to think of myself as a Broadway playwright. But I’m enjoying the audiences, which are truly so radical — you really don’t know who is going to show up on Broadway, which is a big deal because you have to keep yourself really honest. And who knows — for all I know, I’ll be doing cabaret in a year.
You wrote this play for Steppenwolf, and specifically for members of its acting company.
It is like the world’s leading acting ensemble. And if you look at their roster, it’s Cadillac after Cadillac of great American actor, and the idea of being able to write to those voices and that skill level was totally a treat.
Why do you write plays?
At this point it’s a life calling. There’s something about this very old form that continues to inspire me. I think about it all the time. I love to teach it. It’s such an interesting old technology that we have, that strangers can come together, and trust, and weigh their values in this space, and worship at the altar of story. I just find that immensely moving.
How are you feeling about the state of American playwriting?
Playwriting’s great. I’m more nervous about the theater itself. I really feel like we have been through, and are probably still in, some kind of golden age of American writing for the stage, but it makes me sad to see how much our nonprofit folks are still struggling postpandemic.
Do you know what your next play is about?
Well, the next thing I’m writing is the “Purple Rain” musical, so that’s what’s eating up that part of my brain right now. I don’t really know what my next play is, but I’m eager to get back to writing one.
Does “Purple Rain” feel like a wild departure?
Definitely. In some ways it’s not even writing — I’m sort of having to do a crossword puzzle with an old movie and this catalog of incredible songs that were never written to be in a musical. So it’s kind of a brain teaser, but it’s fun and it’s so great to be spending all this time with this material. Prince was obviously the Mozart of our time, so it has been very rewarding.
And you’re going to your first Met Gala tonight?
I am. People are literally putting things on me as we speak. It’s the most surreal day ever.
What are you wearing?
I’m wearing Michael Kors and a smattering, I guess, of other people. Fashion’s not my thing. I’m really just enjoying being part of this.
