By Lynn Venhaus
Four retired guys sitting around talking and drinking coffee at a Chicago McDonald’s is intriguing food for thought –a delectable slice-of-life scenario that immediately draws us in to the play “Coconut Cake.”

Playwright Melda Beaty’s flair for dialogue, humor and seamlessly integrating social commentary in her dramedy is irresistible in a compelling and thoughtful presentation in The Black Rep’s intimate A.E. Hotchner Studio Theatre at Washington University.

Because of the caliber of its five-male cast, this character-driven work makes a swift and memorable connection. Their nimble delivery and interactions under the skilled direction of Geovonday Jones enhances their personal relationships as their struggles are revealed over the course of the two-act 2-hour show.

As they explore issues of manhood, racism, mental health and offer advice over games of chess, they show genuine affection — and aggravation — with each other but offer convincing immersive characterizations and realistic camaraderie. It’s set in the summer of 2010.

A fifth character, an unhoused man they call Gotdamnit, interrupts their mornings asking for money and offering his philosophical and spiritual words of wisdom. He’s considered a pest, but there is a surprising backstory and as suspected, more to the guy than his appearance indicates. Lawrence Evans is riveting as a marginalized man.

While the women in their lives are discussed, not seen, vivid portraits of the female characters emerge as they factor into the men’s disparate demeanors. Two characters in particular – a classy, attractive woman that has caught their eye, whom they watch as she walks to work from the Mickey D’s window, and property owner Joe’s mysterious new tenant, Ms. Brulee, who is a baker that makes a divine coconut cake, which happens to be Eddie’s nostalgic childhood favorite.

Richard E. Waits and Joe Hanrahan listen to Duane Foster. Photo by Keshon Campbell

Eddie Lee, a handyman, is the most agitated guy – upset about his wife’s escalating threatening behavior and discloses personal details about his troubled marriage. Everyone knows he has not been faithful, and that complicates matters. Duane Foster is strong as a guy whose life is falling apart but he’s not taking responsibility for the reasons why.

Marty is often the voice of reason, and his faith has kept him grounded. He’s a deacon in his church and devoted to his family, friends and congregation. As Marty, Richard E. Waits is firm, but measured, in the advice he gives, and it’s not always welcome.

The characters show different sides of them as husbands, fathers, sons and friends. Their individual stories mesh well, and the play offers unexpected twists and turns that add poignancy.

Each man has a significant emotional journey, and their textured portrayals give us richer story arcs as they bring up cherished memories and confide secrets.

Marty has brought along his brother-in-law Hank, a white guy who was married to his sister, who died a year ago. As played warmly by Joe Hanrahan, the widowed Hank is lonely and comes along for companionship and something to do. He’s learning chess, and he beams talking about his family, as his daughters and granddaughters try to keep him busy.

The outspoken Joe likes to needle Hank, calling him “Republican,” and increases his pot shots and cruel jabs. Richard Harris is a feisty live wire as the loud, swaggering Joe, a flashy blowhard who brags about his money and conquests. He’s never married but has a couple baby mamas.

Richard Harris is the outspoken Joe. Photo by Keshon Campbell.

As the very opinionated Joe, Harris can change his mood quickly. His accusations get heated and personal, especially if the other guys give him some lip about his boasts. His colorful wardrobe, often referred to as ‘fly’ in urban slang, is an indicator of his perceived status (kudos to costume designer Brandin Vaughn for the stylin’ attire).

Because Joe’s disposition can turn on a dime, his pointed barbs take on a hostile, accusatory tone in the second act, after he endures some setbacks.

All accomplished actors, the five bring nuance and shades of gray to our assumptions and give us deeper insight into these complicated men. They eventually must grapple with the consequences of their choices during their lifetimes.

Scenic designer Tammy Honesty has presented elements of a typical nook at a 2010-era McDonald’s, well-lit by designer Tony Anselmo, that allows Jones to move the action to wherever the guys are sitting.

When Joe struts in, he commands attention by seemingly holding court. Eddie is too restless to sit down most of the time, and Marty and Hank are often hunched over their chess board.

Lawrence Evans as Gotdamnit and Joe Hanrahan as Hank. Photo by Keshon Campbell.

Sound designer Alan Phillips incorporated people chattering at times and assembled an appealing soundtrack of catchy pop hits. Christian Kitchens was an assured technical director, and Mikhail Lynn provided the minimal props.

This isn’t the first time The Black Rep has presented the play, because during the pandemic in September 2020, they made a virtual Zoom reading available from The Ensemble Theatre in Houston, which featured founder Ron Himes as a major character, Eddie Lee.

In 2022, Beaty received the second annual Sylvia Sprinkle-Hamlin Rolling Premiere Award by the International Black Theatre Festival. Because of that, this play is being produced by five theaters, including the Black Rep. It is a welcome return.

With its engaging cast, a captivating funny-sad bittersweet narrative, and noteworthy technical know-how, “Coconut Cake” is a satisfying production to savor.

(At intermission, a coconut cream cheese pound cake is available for purchase too, along with other snacks. Just sayin’, if you get a hankering for a sweet treat.)

Richard Waits and Joe Hanrahan are brothers-in-law playing chess. Photo by Keshon Campbell.

The Black Rep presents “Coconut Cake” Feb. 5 – March 2 in the AE Hotchner Studio Theatre at Washington University. For tickets and more information, visit www.theblackrep.org

The St Louis Black Repertory Company announces three virtual programs for the month of September. Two virtual readings and a virtual discussion with playwright Melda Beaty and Artistic Director of The Ensemble Theatre in Houston, Eileen Morris.

Coconut Cake will be presented in conjunction with The Ensemble Theatre in Houston who originally produced a zoom reading of the play on Father’s Day Weekend. The Black Rep will stream this production September 11-13, 2020 at 7pm.  Coconut Cake features Producing Director Ron Himes who says,

“What I miss most is the chatter in the lobby and the feeling of anticipation as the lights go down and we sit for a moment anticipating another evening in the theatre. We can never replace that experience but we can maintain our connections with our audiences until it’s safe for us to come together again. We are so happy to introduce the work of Melda Beaty to our audiences in September.”

When Eddie Lee’s wife, Iris, joins him in retirement, the truth about his “ladies man” ways resurface. To avoid her, Eddie retreats to the sanctuary of McDonald’s where coffee refills are free and the rest of his retired friends, with marital problems of their own, wait faithfully for him. When a mystery woman moves in down the street, with her Creole wiles, melt in your mouth coconut cake, and medicine cabinet secrets, Eddie is not the only one who pays her a visit; a visit that threatens to change all their lives forever.  Coconut Cake also features, Jason Carmichael, Ted Lange, Alex Morris, and Ed Muth. 

The Black Rep will then have a virtual discussion with Eileen Morris, who directed the production of Coconut Cake, and Melda Beaty, the playwright. This will take place on Friday September 18, 2020.

Melda Beaty

The Black Rep will close the month of September with a virtual production of Front Porch Society by Melda Beaty.  America is on the eve of electing its first Black president. Amidst the town’s excitement over Barack Obama, Carrie Honey grieves her son’s tragic death. After 40 years of failed attempts to seek justice, Carrie has grown bitter and is no longer interested in life’s celebrations, but when a scandal in town rocks this historic day, a past secret is revealed that restores her faded faith.

This production will be live-streamed with direction by Ron Himes. This cast will feature Marjorie Johnson, Marsha Cann, Thomasina Clarke, Perri Gaffney, Keith Bolden, Christian Kitchens, and Wendy Gordon. This production will live stream on September 25, 2020 at 7pm.  The production will then be available until Sunday September 27, 2020 until 7pm.

Additional programming will be announced at a later date.

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About The St. Louis Black Repertory Company

The St Louis Black Repertory Company was founded in 1976 by Producing Director Ron Himes. The Black Rep is one of the largest, professional African-American theatre companies in the nation and the largest African-American performing arts organization in Missouri. Quality professional dramas, comedies and musicals by primarily African-American and third world playwrights are produced. Mainstage productions and education programs combine to reach more than 80,000 people annually.