With The size of the brothers now in Geffen PlayhouseThis production opens the inaugural season of Geffen Playhouse Artistic Director Tarell Alvin McCraney whose play (which he also wrote) is currently celebrating its 20th anniversary in the intimate Audrey Skirball Kenis Theater. Director: Bijan Sheibani and with a strong, tight ensemble that provides such a dynamic energy that flows through the whole piece, The size of the brothers is an intimate story about brotherhood that is as relevant today as it was when it was first performed. Although there are some moments that could have been cut, as it tends towards monologue-style, the play is lively fun for all.
Based on the rich tradition of the West African Yoruba people, The size of the brothers is a modern fable about two brothers in the deep south. Ogun, the elder brother, embodies hard work and reliability, while Oshoosi, formerly in prison, is seemingly carefree and unpredictable. Their relationship is tested when the charismatic Elegba shows up and entices Oshoosi to revert to his old ways. As the brothers wrestle with loyalty, freedom and duty, their humanity is revealed through a raw and heartfelt exploration of the bonds of brotherhood.
Photo by Jeff Lorch
When you enter the theater room, you will immediately be immersed not only in the tight, intimate space, but also in the one-man music band (Stan Mathabanwho is also the sound designer and composer) that fills you with calm and joy. Throughout the production, Mathaban is an important part of the ensemble as his music plays a key role in telling the story.
Photo by Jeff Lorch
The speaking members of the ensemble are the true anchors of the show, with the main burden of the story focusing on the brothers Ogun and Oshooshi, masterfully played by Sheaun McKinney And Alani iLongwe These two actors complemented each other perfectly as I absolutely believed their sibling dynamic and their casting was perfect to capture their banter and love for each other. Adding to this contrast is the enigmatic Elegba, who is wonderfully played by Malcolm Mays. For a play that has only an empty stage with a total of three actors, these three capture our attention with their charm, their humanity, their wit and humor. The choreography of Juel D. Lane were simply fantastic and actually so well done that they were the biggest highlights of the show.
Photo by Jeff Lorch
I had some major criticisms, and the most obvious is the use of the characters saying some of the stage directions out loud. At first this was amusing, but as the play progressed the repeated use of breaking the fourth wall became unnecessary, as the actions spoken out loud were immediately followed by the actors acting out the emotions or situations. It is very possible that this device has a deeper level, but for me I could have done without it. The second thing I noticed is the almost indulgent level of monologues threaded throughout the play. While the actors certainly played each and every one of them to the point of being over the moon, it got to the point where it slowed down the production when they had a very “actor’s monologue”. Finally, my last criticism is petty, as the monologue story Ogun told his brother about his ex-girlfriend had a strong “Madame Butterfly” vibe to it, as the woman literally threw herself at the neck of a man Ogun was dumped for, and in the story it is revealed that she cut off her ear in grief. I actually would have really enjoyed seeing this character fully fleshed out as an actual character, adding some much-needed female dynamic to the testosterone-heavy play.
Photo by Jeff Lorch
However, this criticism does not detract from the powerful talent on stage, and praise is equally due to the director Bijan Sheibani for the design of the play and its performances, as well as to the production manager. Sam Allen for the seamless coordination of this entire work, like a dance. And as with every production I’ve reviewed that features spectacular talent from around the world, I sincerely hope that these actors are used extensively in plays that are not based exclusively on race at theater companies like the Geffen Playhouse. Because they are just so good that you just have to see them as specifically black characters or cast in black plays, I keep shouting from my critic soapbox that this needs to happen, and often.
PERFORMANCE INFORMATION
Dates
Now – September 8th at the Audrey Skirball Kenis Theater
Duration
90 minutes, no break.
Late seating allocation
Due to their location in the performance area, seats 205-210, 305-310 and 401-410 cannot be re-occupied or re-seated. Visitors who arrive late or leave their seats during the performance will be moved to other seats at the discretion of the property management and subject to availability in order not to disrupt the performance.
Warnings
Loud music • Loud sound effects • Corridors used for the entrance and exit of actors
Content note: This production contains sexual content and obscenities.
Recommended age: 12+
All Geffen Playhouse productions are intended for adult audiences; children under 10 are not permitted.
Tickets
Ticket prices start at $45 and can be purchased here: https://secure.geffenplayhouse.org/overview/the-brothers-size
