'BROKE-OLOGY' - A Study of a Family

Broke-ology

Written by Nathan Louis Jackson, Directed by Benny Sato Ambush; Scenic Design, Skip Curtiss; Costume Design, Mallory Frers; Lighting Design, Margo Caddell; Sound Design, Chris Bocchario; Production Stage Manager, Maureen Lane; Assistant Stage Manager, Eliza Mulcahy

CAST: Johnny Lee Davenport (William King), Patrice Jean-Baptiste (Sonia King), David Curtis (Ennis King), Monty Cole (Malcolm King)

Performances through April 23 at Lyric Stage Company of Boston Box Office 617-585-5678 or www.lyricstage.com

By definition, Broke-ology would seem to be a story for our time. The name of a science invented by one of the characters in the play, it is the study of being financially broke and the myriad details of that condition. However, first-time playwright Nathan Louis Jackson delves into a more expansive meaning of "broke," as in damaged or out of order, to expose the fault lines within a loving African-American family and converts Broke-ology into a story for any family at any time.

Making his Lyric Stage Company directorial debut, Benny Sato Ambush limns the intricate details of Jackson's autobiographical play in its Boston premiere with the aid of an accomplished cast of other Lyric newcomers. Johnny Lee Davenport (William King) gives a bravura performance as the widowed father of two young men, struggling to retain his dignity and sense of self as his Multiple Sclerosis-stricken body continually fails him. Both of his sons, Ennis (David Curtis) and Malcolm (Monty Cole) are dealing with their own struggles, less corporeal than of conscience. Rounding out the ensemble, Patrice Jean-Baptiste has limited stage time as the late wife and mother Sonia, but her absence hovers as a presence in the lives of the King men, most of all William.

The three men establish an instant camaraderie, drawing us into their world of high stakes domino games and the outdated kitchen and worn living room of William's Kansas City home, rendered flawlessly by Scenic Designer Skip Curtiss. After an opening scene introducing young marrieds William and Sonia, pregnant with their first child, the story fast-forwards 29 years to present day. Upon his return from obtaining his Master's degree at the University of Connecticut, Malcolm discovers his father's decline with chagrin, realizing that William requires increasing assistance for daily living. Older brother Ennis, adjusting to impending parenthood and its burdensome financial obligations, makes daily visits to help his father with his medications. He anticipates some relief from his sibling as he believes that family should trump all. The conflict arises when Malcolm announces that he is considering returning to Connecticut where an attractive job offer awaits.

Everything visual in this production lets us know that the King family is not well off monetarily, but the way that they relate to one another conveys a genuine depth of caring and closeness that is priceless. In fact, it is precisely that level of caring that creates the crisis of conscience that each character must address individually. Malcolm has to choose whether to stay or go, feeling the strong tug of family unity and responsibility, even as he is being swept up on the tide of his own future. Ennis is a boy-man with unresolved issues from his mother's early death. While he knows that he must do what he must do to help his father and support his own new family, he remains emotionally tethered to a freer, unburdened time in his life. Filled with pride and love for his sons, William wants them to move forward with their lives while he is looking back and missing Sonia more and more.

Jackson has a wonderful way with words and his dialogue conveys the easy rapport shared by the King men, never better than during their trash-talking scenes around the dominoes table. He is equally adept at providing the lines heavy with emotion, the fantasized conversations between William and Sonia, and the whimsical one-sided talks that William has with Chauncey, the garden gnome the boys "borrow" from a neighbor. It is as if Jackson has lived these scenes and perhaps he has, but many of the discussions ring true because we have lived them. The conflicts played out here are universal and so accurately portrayed that it is difficult to remember that the story is fictional.

Davenport is truly the cornerstone of this production. His first challenge is to age nearly three decades and transform from a robust, young laborer into a man whose body is breaking down and whose mind comes and goes. He does this with some minor costume changes provided by Mallory Frers, but mostly merely by acting. His gestures and inflections are accurate, his frustrations and emotions heartfelt. He inhabits the loving husband and patriarch; the ensemble becomes his family.

Following the opening day performance, Artistic Director Spiro Veloudos, Ambush, and the actors participated in a talkback with members of the audience. Several spoke about the issue of aging or declining parents and were highly emotional about the impact of Broke-ology. Jackson and the Lyric Stage production touch a lot of nerves, but more importantly, they tell a good story and touch a lot of people.

Photo credit: Mark S. Howard (Monty Cole, Johnny Lee Davenport, David Curtis)

 

 

 

 

 

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