“Broke-ology"
Tipping Point Theatre
Northville, Mich.
Until March 8, 2026
“Broke-ology” is the science of being broke, according to Ennis King, the eldest son in the Nathan Louis Jackson play of the same name. The show is now playing at Tipping Point Theatre, directed by Jesse Boyd Williams. Set in a rough Kansas City neighborhood during the Great Recession, the play is about the dynamics within the King family as they cope with individual and collective life struggles.
William (Antoine McKay) is a heartbroken widower of Sonia (Janai Lashon) struggling with multiple sclerosis. Despite his attempts at independence, his adult sons try their best to support him through his worsening state. Ennis (Henrí Franklin) must balance care for his father while working a dead-end job and preparing for a baby on the way. Malcolm (Jimmie Comer III) has just returned home after receiving his master’s degree from the University of Connecticut and is at a crossroads of what he wants for his future.
While finances are a significant part of the family struggles, a more apt title may be “Stuck-ology.” Each of the characters dreams of a better life that struggles to be realized. The play opens with William and a pregnant Sonia dreaming of owning a nicer home in a safer neighborhood where their kids can play outside, a hope dashed by financial limitations and illness. Ennis’ impending fatherhood paired with his father’s caretaking turns his life into a constant support for others. Malcolm is the only one with a semblance of options, and he must choose between staying home to care for his father or pursuing a job on the East Coast where he can build the future he wants.
The story is both hilarious and heartbreaking, supported by a talented cast. The easy chemistry among McKay, Franklin and Comer was palpable, (Lashon was off-stage most of the play.) Amid caretaking, yelling matches, playful games of dominoes and garden-gnome stealing, the three actors captured the love and frustrations of authentic family dynamics.
As William, McKay nailed his portrayal of an aging man doing his best not to be a burden to his sons. His wavering hands never ceased; you watched him struggle to prepare food, inject medicine and simply move about, while maintaining a positive attitude for his family. You laughed with him while he dances to Motown with the garden gnome and cried with him as he regrets never having been able to give his wife the life she wanted.
Franklin was a comedic highlight of the show. His energetic bursts of playful chants and dance were hilarious, but also completely natural, balanced with moments of fear and frustration.
During my preview performance, a technical difficulty led to an amusing disruption from a rather enthusiastic stove, which had been smoking following a burn incident with William. (Luckily it was a water-based “smoke.") The actors maintained their characters with grace (“Is that still smoking?!”) before the crew stepped in, and McKay addressed the audience with “Welcome to previews!” It was a fun moment that reminded you of the beauty of live theater, and the actors picked back up without missing a beat or detracting from the overall story.
The struggles of the King family resonated with people of all backgrounds, and tears were equally shed throughout the diverse crowd of theatergoers. The enthusiastic post-show talkback – during which at least half the audience stayed – was filled with stories of similar heartbreak and shared understanding, with one theatergoer saying she’d be telling her therapist about the show.
“Broke-ology" is beautifully written and was beautifully performed, with every detail both natural and intentional and an ending that comes full circle. Those who have struggled with the guilt and frustrations that come with caretaking will likely relate, and those who have not will be moved just the same. As the night ended, one audience member shared my sentiments, “Thank you for such a beautiful evening at the theater.”
