‘Chicken & Biscuits’: Delicious Farcical Fare @ Circle in the Square
In this current time of COVID when our country faces daily crises of social disunity, dangerous political extremism, economic injustice and abdication of sound public health practices by craven Republican governors, Chicken & Biscuits written by Douglas Lyons, directed by Zhailon Levingston appears to lack currency on superficial inspection. Benign family squabbles, sibling rivalry, death and succession, a same-sex relationship, such subject matter at the heart of the play is quaint fare for a comedic entertainment that offends no one.
Except Chicken & Biscuits neither lacks currency nor is a quaint, “sitcom,” family comedy. Its levity and humor smacks of farce and satire with dead-on threads of truthfulness. However, if one is dreaming, much will slip past in the twinkling of an eye in this play about black culture, family and the foundations of faith that undergird the best hope for the black American experience in a racist culture that hovers invisibly and surfaces surreptitiously in Lyons’ one-liners.
The occasion is the funeral for the father of the Mabry family. He was the pastor of a Connecticut Pentecostal-type (there is a bit of dancing in the spirit) black church. Succeeding him in the position is Pastor Reginald (played with humor and oratorical fervor by Norm Lewis). The imposing, ambitious, dominant matriarch Baneatta (the funny Cleo King) whose resume would make any ignorant racist’s head spin, stands by his side in the church family.
Gathering with their parents are daughter and son: the accomplished Simone (Alana Raquel Bowers) and actor Kenny (Devere Rogers). Rounding out the family “going home” celebration are Baneatta’s hyper vivacious sister Beverly (the gloriously out there Ebony Marshall-Oliver) and Beverly’s enlightened, wise-cracking DJ daughter La ‘Trice Franklin (the buoyant Aigner Mizzelle). To spice up the explosive, sometimes irreverent proceedings are Kenny’s Jewish lover, Logan Leibowitz (the LOL Michael Urie) and mystery guest Brianna (sweet NaTasha Yvette Williams).
Before the guests arrive Reginald counsels Baneatta to relax and not become embroiled by family machinations. We note Baneatta’s stresses when she prays to God for patience in a humorous riff about her sister. During this preamble to the funeral service, others step in and out of the vestibule. They share their hysterical misgivings and woes about the family interactions to come.
The staging at the Circle in the Square is finely employed; the flexible set design by Lawrence E. Moten III and clever rearrangement of furniture and props serve as a church basement, sanctuary, nave and more. The modern stained glass windows and wood paneling upstage center, flanked by paintings of a black Jesus and crosses on both sides, serve to create the atmosphere of a thriving church. The underlying symbolism is superb as is the assertion of freedom from the typical forms of bondage Christianity.
Each family member, an ironic stereotype of themselves, identifies the complications that will arise as emotional storm clouds threaten on the horizon of the funeral and aftermath. Kenny attempts to soothe Logan who has been disrespected and largely ignored by Baneatta and Simone who cannot brook Kenny’s being gay, nor his attraction to a Jewish white man. When we see them in action with Logan, we note their austerity of warmth with mincing words and behaviors. As they watch him founder in blackland Christendom with two strikes against him, his whiteness and his gay Jewishness, he crumples instead of standing to and giving it back for fear of offense. These scenes are just hysterical and we see beyond to the strength and character of the individuals and their weaknesses.
As Logan, Urie’s ironic, humorous complaints to Kenny when they are alone, set up the tropes and jokes which follow as we watch how Baneatta and Simone treat him like a rare breed of exotic who must give obeisance. Hysterically, Kenny breezily abandons Logan to their clutches: it’s sink or swim time for Logan. Urie plays this to the hilt authentically, riotously with partners, King and Alana Raquel Bowers as the straight women who “bring it.” Watching this is both funny and upsetting. The women are intentionally clever. Their response is anything but Christian, loving and warm, but who is playing whom? We are reminded of the hypocrisy of evangelical churches to the LGBT community who engage in political Republican actions. Though this is a church in Connecticut and its members are most probably Democrats, the similar odor is clear. We wonder, can the situation evolve for the better? Can they achieve common ground?
The only one who accepts Logan with Christ’s unconditional love and hugs is Pastor Reginald. And Logan longingly remembers that Reginald’s Dad (who we discover to be a waggish, wild pastor) showed the same love. For Logan it is no small comfort, but apparently this open behavior was typical of the deceased pastor’s liberalism and Christian equanimity.
Obvious is the clash between lifestyles and personalities of the sisters: the educated achievement-oriented Baneatta, and the wild, flashily dressed, divorced and “out-there” Beverly and her DJ, hip, savvy, “ready for her social media celebrity” La ‘Trice. Mother and daughter counsel each other to “shut it,” projecting widely but not seeing their own faults and outrageousness to care to change. They do it because they are funny and they laugh at themselves. Do they have anything better to do being who they are? Marshall-Oliver and Mizzelle make for a great mother-daughter team.
Truly, the women dominate this world as the service, the sermon and eulogies get underway. Their behaviors and actions are at various proportions of farcical and funny as are all these typical, atypically drawn individuals.
Nevertheless, underlying the laughter and stealthy ridicule of each character being themselves, we get the importance of family and faith community. Despite the miry clay conflicts that emerge as part of the whirlwind of events that race through the play to the end revelation, these individuals have each other’s backs. And entry into the family, as Logan discovers, is not easily won. However, when it’s won, it’s forever.
The service is down-home (different from evangelical) with the hope of less hypocrisy via a more spiritual relationship with God. Thus, when the Pastor preaches in the spirit and dances a bit in the spirit, the audience even takes up the “Amens” in concordance. Indeed, the hope of a better way flows from Pastor Reginald’s fountain of faith. And by the conclusion of Chicken & Biscuits, a better way has been found in the dynamic of each of the family relationships, catalyzed by a mystery guest that Baneatta feared and kept secret for most of their lives.
Chicken & Biscuits serves on many levels. For those who enjoy a riotous comedy/farce with characters that tickle one’s funny bone continually, this is the perfect play. For those who enjoy being entertained, yet also enjoy the illumination that comes when thematic truths about life and people are cleverly revealed without preachy presentments, then this play surely delivers. For those who value the unity of family that never devolves to hatred, division, anger and bitter insult and rancor, the play is a portrait of a black family which resonates through the medium of satire and good will.
Kudos to Nikiya Mathis for her hair/wig and makeup designs: I loved her cool hair design for La ‘Trice, and Baneatta’s sober, contrasting hair and hat, to Beverly’s unsanctimonious hair and feathery headpiece. Simone’s hair design was just luscious. And additional kudos to Dede Ayite’s great, character revealing costume designs, Adam Honoré’s beautiful lighting design and Twi McCallum’s sound design. Their assistance was superb in making this a wonderful romp with circumspection if you divine it.
You need to see Chicken & Biscuits for the cast’s excellent ensemble work, Levingston’s direction and Lyons’ uproarious writing. In all its satiric humor about family “types,” the production took me away from divisive political rancor and stereotypes that follow. Chicken & Biscuits is a welcome joy. For tickets and times go to their website. https://chickenandbiscuitsbway.com/
Posted on October 14, 2021, in Broadway, NYC Download, NYC Theater Reviews and tagged Aigner Mizzelle, Alana Raquel Bowers, Chicken and Biscuits, Cleo King, Devere Rogers, Douglas Lyons, Ebony Marshall-Oliver, Michael Urie, NaTasha Yvette Williams, Norm Lewis, Zhailon Levingston. Bookmark the permalink. Leave a comment.