South Camden Theatre Company presents Douglas Lyons’s Chicken and Biscuits

Hours before the funeral for family patriarch and church pastor Bernard Jenkins, many of his relatives are not just overcome with grief: they’re hyper-focused on unresolved domestic tensions sure to flare up during the memorial service. Estranged sisters Baneatta (Daniell Shaw) and Beverly (Janan Ashton) hope to keep their conflict to a minimum as they reunite to bury their father. Meanwhile Baneatta’s son Kenny (David Bazemore) is anxiously traveling alongside his boyfriend, Logan (Scott Berkowitz), to eulogize his grandfather. On the way, Logan laments to Kenny, “every time your mother is around you go back into the closet.”

Some conflicts are bit more internal. Baneatta’s husband Reginald (T.C. Storm Caldwell) is not only trying to be the peacekeeper, but also fretting about stepping in as Pastor for the family’s church, now that the role is vacant. Their daughter Simone (Lynn Shirley) is dealing with the aftermath of another failed relationship and the flurry of questions that are sure to follow. Meanwhile, Beverly’s daughter La’Trice (Christiana Thompson) is an only child longing for a sibling and present father in her life.

Comedy and depth

This ensemble cast is well aware of the delicate balance between high drama and comedy. Shaw and Ashton, with their emotional turmoil as the feuding sisters, are the soul of the show. Shaw navigates the silent, simmering resentment of her character with a certain precision that makes her long standing grudges feel lived in. Ashton is a comedic standout, receiving the most laughs throughout the show. Yet as the play unfolds she delivers a surprisingly poignant level of emotional vulnerability.

Caldwell’s turn as Baneatta’s husband Reginald is another highlight, providing some of the show’s more spiritual moments. As he moves authentically through the aisles during Bernard’s eulogy, it doesn’t feel like a performance; it feels like we’re at the memorial service. Shanice Brooks as Brianna Jenkins makes a small but impactful impression. As Baneatta’s son, Bazemore shines as he evokes the hypervigilance of an anxious man torn between his boyfriend and disapproving mother. Thompson’s feather-light tone as Beverly’s daughter aids her razor-sharp portrayal as a social-media obsessed teen, but it also makes it difficult to hear some of her dialogue. The newly single Simone expertly embodies a woman at the crossroads, boldly facing uncertainty. And Berkowitz has great comedic timing as he breathes life into the show’s more playful moments.

A funeral mood

Though the initial set design (by Robert Bingaman) featuring a makeshift exterior wall and stained-glass window of St. Luke’s Church is slightly overwhelming for the stage, the revolving stage later reveals a quaint church with red pews, a narrow pulpit, and the requisite white floral arrangements. This feature provides a seamless scene change while maintaining the show’s energy.

Lighting design by Hunter A. Mountz never completely brings the lights down on the audience; we’re easily able to see each other for most of the show. This may be meant to evoke a more communal feeling during the funeral, with the audience becoming additional mourners, but it ultimately distracts from the show’s emotional heartbeat.

Sound designer Jairous L. Parker sets a somber tone with mournful instrumentals as the audience enters. Though the show isn’t a musical, it would have been nice to hear more rhythmic interludes, especially during scene transitions, given the significance of music within the Black church. Louise Gareau’s costumes also add to the sorrowful mood, with black funeral attire and black fascinators for most of the ladies, adding a sophisticated, cohesive look.

For anyone who has lived through the drama of a death in the family, Chicken and Biscuits will feel like a tasty, home-cooked meal.

Thanks for reading BSR! If you enjoyed this review, be sure to subscribe to our free newsletter and don’t miss the next one. There’s never a paywall at BSR, and you can join the donors who keep our journalism accessible.