BWW Reviews: BROKE-OLOGY - An Entertaining Familial Tragicomedy

Direction by Eileen J. Morris treasures the tender nature of the work, while keeping the highly stereotyped characters grounded in realism. The two sons exist as polar opposites, but are representative of two differing and distinct ideals of life that often clash. One prizes his UConn education, while the other prizes the sciences of Broke-ology, Pimp-ology, and Dominology or Dominowledge. The battle between the school of hard knocks and the University of Connecticut earns many a laugh, and, under Eileen J. Morris' direction, endears the audience to both of the characters. Likewise, she expertly directs the character of the ailing father to devastate the audience emotionally, causing many a tear to flow down our cheeks.

L.D. Green breathes bold, brash, and crass life into Ennis King, the son that never left the Kansas City neighborhood his family settled in. He is proud of his brother who went away to the University of Connecticut, but has bigger issues to deal with at home-such as his pregnant girlfriend and his father's slipping health. L.D. Green warms the hearts of the audience through humor, making us laugh as he discusses his science of Broke-ology and other various sciences of the street. Likewise, he shocks the audience with his lack of couth, often cursing in front of his father, which earns everything from eye rolls to grins and guffaws. Moreover, L.D. Green fully commits to his characterization, walking with a pronounced pimp limp. Most impressively, L.D. Green showcases that Ennis King truly has a heart of gold behind his hood exterior, adding depth to his façade by exposing that a lot of his actions are justified by his feelings of being entirely enmeshed in, no consumed by, his community and neighborhood-he is a step beyond stuck in his Kansas City home.

Playing Malcolm King, Joseph "Joel" Palmore adroitly embodies the learned status of the educated. Some may even refer to him as being "bougie." He champions his university education and intends to only come home for the summer; however, his old neighborhood and family easily ensnarl him, and he winds up feeling completely trapped in Kansas City. Being the only member of the family with a college education, he struggles to relate to both his brother and father, which Joseph "Joel" Palmore brings to stunning life while earning copious amounts of empathy from the audience. Joseph "Joel" King expertly exposes Malcolm King's perceived and realized alienation from his old neighborhood, illustrating how his college education has made him almost a foreigner in his old home.

Broderick "Brod J" Jones pristinely plays the tragic William King. The man instantly wins the audience over in the early eighties prologue of the piece and continues to do so as the play shifts to 25 years later. Broderick "Brod J" Jones deftly creates a character that is loving and always tries to do the very best he can for his two sons, especially in the absence of their deceased mother. Furthermore, he cleverly, swiftly, and touchingly creates a character that still has relatively strong cognitive skills and is deeply troubled by having to rely on his sons for help. Broderick "Brod J" Jones manipulates the emotions of the audience with ease, making use laugh when William is joking around and making us ache for William's pain and suffering. Most importantly, he immaculately adopts the mannerisms of someone suffering from multiple sclerosis and makes that struggle completely realistic and distressing for the audience.

Autumn Knight expertly plays Sonia King, adding depth to Broderick "Brod J" Jones' performance as William King. The two have great chemistry, and every time her ghostly apparition of Sonia King appears, she worries the audience who comes to understand that her appearances usually do not bode well for the health of William.

Janelle Flanagan's Scenic Design sumptuously recreates a small urban dwelling. Notably, the sink in her set's kitchen is fully functional, and the refrigerator appears to be working as well. Likewise, she has perfectly picked furniture pieces that fit both the early eighties and mid-2000's period well.

Costume Design by Shirley Whitmore reinforces the characterizations chosen by the director and actors. She dresses the cast in clothing that relates the personality of the characters to the audience without the cast having to utter a single word.

Lighting Design by Kris Phelps appears rather simplistic, bathing the set and cast in realistic lighting. Ambers flood the stage, keeping it warm and well lit for the performance. Minimal atmospheric lighting effects are effectively used for the appearance of Autumn Knight's Sonia King.

Adrian Washington's Sound Design works well. The best work is in the atmospheric tonal shift that occurs every time Sonia King appears. She is preceded by a sound and her dialogue electronically reverberates in the auditorium, aiding in the spooky and forbidding feelings of her visits.

The Ensemble Theatre's production of BROKE-OLOGY is an earnestly entertaining show that uses familial troubles to tug at the heartstrings. The audience easily gets lost in the drama and transported away from their lives for a couple of hours. The show will make audiences laugh as much as it will make them cry, so bring tissues. You may also want to leave the little ones at home due to the heavy subject matter and adult language used in the production.

BROKE-OLOGY runs at The Ensemble Theatre through April 14, 2013. For more information and tickets, please visit http://www.ensemblehouston.com or call (713) 520 - 0055.

All photos courtesy of The Ensemble Theatre.

Broderick "Brod J" Jones (William King).

Joseph "Joel" Palmore (Malcolm King), L.D. Green (Ennis King), and Broderick "Brod J" Jones (William King).

Autumn Knight (Sonia King) and Broderick "Brod J" Jones (William King).