By the time he was in middle school, Tarell McCraney was already a dreamer who knew too well how hard life can be.
As he watched his mother struggle with drug addiction, he often became a stand-in parent to his three younger siblings. Some days, he wasn't sure when the family would eat, or whether the electricity would still be on when he got home from school.
Though he found more stability at his father's home in Liberty City, the tall, graceful teenager became the target of bullies; once, they chased him down the street, lobbing rocks and ugly words at him. When the boys abruptly stopped, McCraney realized it was because they didn't want to risk breaking the windows on nearby parked cars.
''I took from that how much my community valued me,'' he muses. ``Worth less than . . . glass.''
Back then, he felt lost. Then he found a life in theater.
Today, Tarell Alvin McCraney will graduate from the Yale School of Drama with a master's degree in playwriting and a future so bright that, as his mentor and friend Teo Castellanos puts it, ``he has to wear shades.''
Theater, McCraney says again and again, ``saved my life.''
He got thrown that lifeline during his freshman year at South Miami High School, when a guidance counselor told Castellanos she had a ''troubled'' kid he might want to consider for a new teen theater program he was putting together at the Village South.
''When I met him, he was very green, shy and not a good actor. We learned a lot together,'' says Castellanos, the award-winning creator of NE Second Avenue and Scratch & Burn. ``I saw this kid who needed a place to cultivate his interests and where it was OK to be gay. His mom had been a substance abuser and was HIV positive. He was totally in the right place.''
A WORLD OF INFLUENCE
Castellanos exposed his young performers to theatrical styles and spiritual influences from around the world. The company's mission was to use theater to spread a drug-prevention and HIV-awareness message, and Castellanos challenged the kids to create their own work. McCraney did.
''He did a piece he called Crack House, which he performed at a substance-abuse program. By the end, the audience would be bawling,'' says Castellanos, who considers McCraney ``my son in art.''
McCraney switched to Miami's New World School of the Arts his sophomore year in high school, and though he thought about becoming a dancer, he settled on acting.
''My dad thought dance was for girls and effeminate. He didn't have the exposure to know that dance without boys is kind of boring. He didn't want me to do something that might make me ridiculed,'' McCraney says. ``But I honor art forms that make order out of chaos. When you grow up in a chaotic world like I did, you seek order.''
IMPORTANT FORCES
At New World, guidance counselor Sylvan Seidenman and his wife Sandy became important forces in McCraney's life. When McCraney couldn't come up with the money to apply to Chicago's DePaul University and travel there to audition, Seidenman and a few New World parents provided it.
Seidenman says McCraney ``became a force around here almost immediately. He's like a magnetic force . . . His magic is apparent wherever he goes.''
Since midway through McCraney's years as an acting major at DePaul, the Seidenmans have traveled to see every play he has performed in or written. McCraney calls them his godparents. Along with his proud family, the couple will be in the audience at Yale today when McCraney gets his degree. The difference they have made in his life, he says, isn't just financial.
''Regardless of blood ties, they care about me and my well being,'' McCraney says. ``I had a terrible time trusting people. They taught me there are people you can count on.''
Though he didn't have great confidence in his ability as an actor, the six-foot, three-inch McCraney got noticed in Chicago, getting cast in a production of Blue/Orange directed by Tina Landau (and earning a prestigious Joseph Jefferson Award nomination for his performance), getting chosen by legendary British director Peter Brook to work on a project that ultimately didn't happen. He had begun writing, and the nascent talent he showed in plays like Without/Sin got him admitted to Yale, home of the most prestigious playwriting program in the country.
But before he could move to New Haven, Conn., more personal chaos. His mother, Marian Alvin, died less than two months after McCraney graduated with honors from DePaul. Not quite 18 when McCraney was born, mother and son had grown up together: ''We were so close, like friends,'' he says.
Though she was very ill at the time Yale accepted him, ''I think she knew,'' McCraney says, his eyes glistening with tears.
In his three years at Yale, McCraney has been prolific and driven. He has written a trilogy he calls the ''Brother/Sister Plays,'' dedicated to his sister Keonme, his younger brother Jason and his youngest brother Paul, who is now doing prison time in Georgia for marijuana possession. When The Brothers Size, the play inspired by Jason and Paul, was produced at the New York's Public Theatre's Under the Radar Festival in January, it ignited a buzz that is only growing louder.
''Finding someone like Tarell makes my job completely worthwhile,'' says Mark Russell, the longtime artistic director of Manhattan's new-work incubator P.S. 122, now the producer of Under the Radar.
``I loved the stripped-down quality, the beautiful muscularity of the language. It says he's a writer right away. I loved the way he was using the orishas [the names given spirits by West Africa's Yoruban people] in a contemporary setting. It's a gorgeous, genius idea. We'll be thinking and hearing about Tarell's work for years to come.''
`WHO IS THIS GUY?'
Emily Mann, artistic director of the Tony Award-winning McCarter Theatre in Princeton, N.J., felt the same way when she began to read McCraney's In the Red and Brown Water, the play dedicated to Keonme.
'By the time I turned the first page, I said, `Oh, my God, who is this guy?' The last time I had a reaction like that was when I first read Nilo Cruz's work. We did The Brothers Size as the centerpiece of our IN-Festival [in February]. I have invited Tarell to make the McCarter his artistic home,'' Mann says.
Playwright Richard Nelson, head of Yale's playwriting program, says that the excitement surrounding McCraney's work isn't just unusual.
''The kind of attention and interest he has engendered as a student is pretty much unheard of,'' says Nelson, who helped McCraney sign on with an agent at International Creative Management.
``He's confident in his own voice . . . He writes speeches that really sing on the stage. There's something very theatrical about him and his writing . . . He works extremely hard, and he's very prolific. I just wish he would sleep a bit more.''
Looking at his schedule through February, that's not likely to happen soon. After getting his own degree at Yale today, McCraney will be back in Miami Wednesday giving the commencement speech at New World's high school graduation ceremony. Coming back to Miami -- and finding a way to give back to Miami -- are as important to McCraney as his beckoning career.
''I was preparing myself to be this busy,'' says McCraney, now 26. ``I decided to dedicate myself to doing 90 different things, so that by the time I'm 30, I can dedicate myself to one thing at a time.''
One of his most cherished dreams is to start, with other artists who have South Florida connections, a professional company, a training program and an outreach program for arts students in Miami.
''My goal is to get enough of a name and cultural cachet that I can give back to the community in a way that will help save more lives,'' he says.
His father Stephen jokes that the Carnival Center was built for his son. Maybe, in a sense, it was.
When McCraney comes home, he usually stays at his father's house in Liberty City. And despite the remembered pain of youth, despite the fact that his sexuality is something ''my dad will never have a conversation about,'' McCraney feels most at home there.
''I love staying in Liberty City, being in the middle of that again,'' says the young man whose own life has been all about navigating dichotomies.
``Even though it has an astronomical number of shootings, at the same time, there's a sea breeze and these awesome, breathtaking sunsets. Those things live in the same space.''
Photo by JARED LAZARUS / MIAMI HERALD STAFF
Tarell McCraney, center front, poses with the cast of The Breach -- from left, Sheaun McKinney, John Archie, Karen Stephens, Joe Kimble, Kameshia Duncan and Dan Leonard -- at the Florida Stage in Manalapan.
McCRANEY'S PLAYBILL
Tarell Alvin McCraney was born in Miami on Oct. 17, 1980. He graduated from the New World School of the Arts high school program in 1999, Chicago's DePaul University in 2003, and will receive his master's degree in playwriting from Yale University today.
• Wig Out, a play inspired by the ''beautiful, glamorous, sad, dangerous'' stories McCraney heard from transsexual transgendered kids he met in Miami, will go through a developmental process July 9-29 at Utah's Sundance Institute Theatre Laboratory.
• The Breach, a play by McCraney, Catherine Filloux and Joe Sutton, will have its world premiere Sept. 5-30 at Southern Repertory Theater in New Orleans. Set in the days just after Hurricane Katrina, it tells three interwoven stories (McCraney's is about a family trapped on a roof). Seattle Repertory Theatre will also produce the play Jan. 10-Feb. 9.
• The Brothers Size, one of McCraney's ''Brother/Sister Plays,'' will be produced at London's Young Vic Theatre Nov. 8-Dec. 8. It is also under consideration for production by a major Manhattan-based company next season.
• In the Red and Brown Water, first in the Brother/Sister trilogy, will be produced at Atlanta's Alliance Theatre (winner of this year's regional theater Tony Award) Feb. 1-24.