It seemed apropos to be walking into the Little Theatre of Norfolk on a Sunday, as the set for “Chicken & Biscuits” was fully dressed like a church, so much so that we looked around and wondered if this was just a ploy to get us into a Sunday Service (well done to scenic artist Jessica Lahm and team).  As the curtain comes up, we are introduced to Baneatta Mabry, played by Arnecia Williams, as she tries to calm herself for what she knows will be a trying day ahead – it is her father’s funeral, and she is going to have to manage not only her own emotions, but also her complicated family. 

The star of that complicated family is the fabulous, breasts-forward, always-speaks-her-mind Beverly Jenkins, played by Erika Patrick.  Patrick brings extraordinary energy (and quite a bit of physical comedy) to this part from her very first moments on stage – primping, strutting, and vogueing, much to the audience’s delight.  This is such a stark contrast to Williams’ Baneatta, who is clearly burdened with the idea that she must hold together and become the family matriarch, now that both of her parents have passed.  That conflict of style between the two of them seems like the central conceit of the show… right until it’s not.

Meanwhile, the people these two sisters have surrounded themselves with each bring their own perspectives and problems.  Baneatta’s husband Reginald, played by Ja’Mel Dean, is now taking over as the pastor of the deceased’s church, and so must play double-duty as both consoling pastor and mourning family member.  Baneatta’s son Kenny (played at this performance by the always riveting Joe White, who we loved in LTN’s “But Why Bump off Barnaby?” earlier this season) is…

1. gay, and
2. dating a white man (Logan, played appropriately awkwardly at this performance by Hunter Thomas),

neither of which seems to be winning him any points with the rest of his family, to say the least.  Baneatta’s daughter Simone, played at this performance by newcomer Raven Woods, recently had an engagement called off, and is struggling to deal with the fallout of that.  And Beverly’s high school age daughter La’Trice, played at this performance by KeeAjah Baldwin, has her nose not only in her phone but also in everyone else’s business, all while she tries to promote her new mixtape. 

How have I gotten three paragraphs into this review and not mentioned that this play was a comedy?  And not just a comedy in name, but a laugh out loud, absolutely enjoy yourself for two hours, comedy!  The chemistry between these actors, and the natural movement between touching moments and hilarity, is attributable to yet another fantastic directing performance from Sharon Cook (following up her work, also with Patrick, at LTVB’s “A Raisin in the Sun”).  Our favorite, and perfectly timed, schtick involved an overzealous churchwoman really enjoying her own take on “Amazing Grace”, which would sneak into the background at just the right moment (a credit to the sound design of Serenity Jones).  Each of the characters’ reactions to this is just comedic perfection.

As happens at times when family comes together, the older generation falls back into the sibling rivalries of their childhood, leaving the younger generation to step up and be the adults in the room.  Baldwin, Woods, White, and Thomas, in their younger generation roles, do this perfectly, as they are generally the ones speaking more sense, and being more accepting – all in the hopes that the parents follow their lead. 

The parents might come around eventually, but man is it fun to watch as Williams and Patrick turn into the stomping, grudge-holding, selfish children of their past.  It is practically an acting class put on by the two of them, playing as perfect foils to each other.  Peyton Henderson, in her role as Brianna Jenkins, said it best – these are “two dynamic Black women, wearing it in very different ways”.  So come on out and enjoy some “Chicken & Biscuits” with the family – you’ll leave with a smile on your face and a newfound appreciation for the personalities in your life.