by Charlsie-Kern Kruger

The much beloved patriach of the Jenkins family, The Reverend Bernard Jenkins, longtime Pastor of St. Luke’s Church, has passed away. The family gathers for the funeral, where the pastor’s very nervous son-in-law (having inherited St. Luke’s pulpit), Reverend Reginald Mabry, is to deliver the funeral narration.

That’s the premise for this well constructed family play which, after a brief run on Broadway, was the second most produced play in America during the 2022-2023 theatrical season. (For passionate theatre buffs who MUST know, the first most produced play was “Clyde’s” by Lynn Nottage).

it is easy to see why “Chicken and Biscuits” has been so successful. It is a beautifully constructed genre piece (“the family funeral”) that checks all the necessary boxes with great facility: there are estranged sisters with radically different personalities and life perspectives, a gay son whose white partner is having trouble fitting in with the very Black-identified Jenkins clan, an absent patriarch whose strong personality still influences his heirs, mother daughter conflict, and a complex marriage, and, of course, the revelation of an unexpected family secret. (No spoiler  here, though.)

I don’t mean to suggest that the play is an exercise in cliche. It is not, because all of these complex moving pieces are handled with remarkable grace and insight by a capable cast and the direction by Devin A. Cunningham is rich with nuance. Add to that the superb evocation of Black Church culture, and it is clear that this production is a winner across the board.

The relationships are clearly explored, the dialogue is witty and insightful, and the emotions true. What more can you ask of a family drama?

All of the cast is excellent, but I would be remiss if I did not single out the outstanding and charismatic performance of Rhett Burden as Reverend Reginald Mabry, who must deliver the eulogy. Burden hits every note. His nervousness at the approaching service is palpable as he tries to manage his highly emotional wife, his nervous gay son, and a congregant named Mother Jones who refuses to cease singing her caterwauling rendition of  “Amazing Grace.” (Mother Jones does not appear in the play, but her vocal pyrotechnics, as performed by Clara McDaniel, are hilarious!) Under all that pressure, his manner appears stilted until he approaches the pulpit – then ALLELUIA!  – the man delivers some CHURCH!!! His transformation at the pulpit is a glorious moment and perhaps the most memorable aspect of this fine production. It’s worth the price of admission.

Chicken and Biscuits will play for three more performances (October 31st through November 2nd) at New Hope Baptist Church in Oakland. For further information, click here.

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Rating: *** (For an explanation of TheatreStorm’s rating system, click here.)
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“Chicken and Biscuits” by Douglas Lyons. Produced by African American Shakespeare Company. Director: Devin A. Cunningham. Production Manager & Set Designer: Ely McIntire. Costume Designer: Jan Hunter. Casting Director & Sound Designer: Jamers Mercer II. Lighting Designer: Ashley Munday.

CAST:

Reginal Mabry: Rhett Burden. Simone Mabry: Camille Collaço. La’Trice Franklin: Micaela Davis. Brianna Jenkins: Arista D’Nae. Logan Liebowitz: Joel Ellis. Kenny Mabry: Halin Moss. Beverly Jenkins: Brittany Nicole Sims. Baneatta Mabry: Alicia Stamps.