NEW YORK—A family drama that starts off on a deceptively simple note builds to a soul-searching, heartrending climax in Nathan Louis Jackson’s “Broke-ology.” Father, William King (Wendell Pierce), and his two sons, Ennis (Francois Battiste) and Malcolm (Alano Miller), struggle to find the best possible solution for all, in the instance of William’s rapidly failing health.
In contemporary Kansas City, Kansas, where this African-American family lives, William is on the cusp of being unable to care for himself. He has a strong need to have a family member live with him, for his cancer is spreading and is intensely painful, and he is coming to rely more and more on medication to ease his pain.
Ennis, the older son, has a wife and children of his own to whom he owes his presence and attention. Malcolm, although unmarried and with no personal ties other than to his father, has fierce ambitions, ambitions which, if he honors them, would carry him away from Kansas and to the East, to a university in Connecticut where he has an offer of a plum position.
Ennis chastises Malcolm for even considering leaving their father. Malcolm is torn: How can he, in a moral sense, leave the father who needs him; on the other hand, how can he give up a glowing opportunity to achieve success in the larger world, a strongly desired option for any young man, but particularly so in the case of an African-American.
Sonia, richly portrayed by Crystal A. Dickinson, seems to urge William to join her. Their scenes together are warm and tender, approaching a spiritual plane not often seen in today’s theater.
Ultimately, the situation is resolved, although not happily. I find two ways of looking at the ending: One might consider it a cop-out by the playwright; conversely, one could consider that it rings of truth. Whatever one’s take on it, the ending is intensely moving.
Under Thomas Kail’s sensitive direction, performances soar, with all four performers coming to bare the emotional nerve endings of their characters.
Wendell Pierce’s William is both vulnerable and stoic; Alano Miller’s Malcolm indicates the inner turmoil of a young man in search of his destiny; Francois Battiste’s Ennis shows the sternness and disappointment of an older brother who wants the best solution for their dying father. Crystal A. Dickinson displays a unique, very attractive personal quality, which helps immeasurably in carrying the play to its ultimate destination.
Donyale Werle’s sets invite us into the informal living room of a contemporary Kansas City home, with Emily Rebholz’s costumes completing the picture.
Lincoln Center Theater, under Artistic Director André Bishop and Executive Producer Bernard Gersten, is to be congratulated for importing this production from the Williamstown Theatre Festival (Nicholas Martin, artistic director), where it had its premiere.
Broke-ology
Lincoln Center Theater production at the Mitzi E. Newhouse Theater
150 West 65th Street
Tickets: 212-239-6200 or www.lct.org
Running time: 2 hours and 15 minutes
Closes: Nov. 22
Diana Barth writes and publishes “New Millennium,” an arts newsletter. For information: diabarth@juno.com. She also contributes to TotalTheater.com.
