With The Brothers Size now performing at the Geffen Playhouse, this production kicks off the inaugural season of Geffen Playhouse Artistic Director Tarell Alvin McCraney whose play (that he also wrote) currently celebrates its 20th anniversary in the intimate Audrey Skirball Kenis Theater.

Directed by Bijan Sheibani and with a strong tight ensemble cast that provides such a livewire energy which courses through the play, The Brothers Size is an intimate story of brotherhood that has much relevance today as it did when it first premiered. While there are various moments that could have been trimmed as it somewhat indulges in monologue showcase territory, the play is a vibrant good time for all.

Drawing from the rich tradition of the Yoruba people of West Africa, The Brothers Size is a modern-day fable about two brothers in the Deep South. Ogun, the elder brother, embodies hard work and reliability, while Oshoosi, formerly incarcerated, is seemingly carefree and unpredictable. Their relationship is tested when the charismatic Elegba arrives, tempting Oshoosi back to his old habits. As the brothers wrestle with loyalty, freedom, and duty, their humanity is revealed through a raw and heartfelt exploration of the bonds of brotherhood.

When you enter the theater space, you will be immersed immediately with not only the tight intimate space but the one-man music band (Stan Mathaban, who also is the sound designer and composer) that imbues you with calm and delight. Throughout the production, Mathaban is very much part of the ensemble cast as his music plays a key role in telling the story.

The speaking members of the ensemble cast are the true anchors of the show with the brunt of the story focusing on the brothers Ogun and Oshooshi, masterfully played by Sheaun McKinney and Alani iLongwe respectively. These two actors complemented each other perfectly as I absolutely believed their sibling dynamics and so their casting was perfect in capturing their banter and their love for each other. Adding to this foil is the enigmatic Elegba, who is deliciously played by Malcolm Mays. For a play that only has a bare stage with three actors total, these three completely capture our attention with their charm, humanity, wit, and humor. Also, the choreography done by Juel D. Lane was just fantastic and so well done in fact that they were the biggest highlights of the show.

There are a few major criticisms I had and that the most immediate is the usage of the characters speaking some of the staged directions out loud. At first it was amusing but as the play went on, the repeated usage of breaking the fourth wall became unnecessary as the actions said out loud were immediately followed by the actors acting out the emotion or situation. It is very possible that there is a deeper level to this device but to me, I could have done without it. The second thing I noticed is the almost indulgent level of monologues that were present throughout the play.

While the actors certainly acted the living daylights out of each and every one of them, it would get to a point that it would slow the production down whenever they would have a very “actor monologue.” Finally, my final criticism is a nitpicky one as the monologue story Ogun told to his brother about his ex-girlfriend had a strong “Madame Butterfly” vibe to it as the woman would literally throw herself to a man that Ogun was dumped for and in the story, was revealed that she cut off one of her ears in her grief. I would have actually very much enjoyed that character to be fully realized as an actual character and add a much needed woman dynamic to the testosterone-heavy play.

These criticisms however do not detract whatsoever of the powerhouse talent seen on stage and kudos are equally given to director Bijan Sheibani for crafting the play and its performances as well as production stage manager Sam Allen for coordinating this entire work together smoothly like a dance. And like every production I’ve reviewed that showcases spectacular global majority talent, I sincerely hope to see these actors in theatre companies like Geffen Playhouse significantly utilized in plays that aren’t solely based on race. Because they’re just so good to only be seen as specifically Black characters or cast in Black plays so once and forever more, I continue to shout out from my reviewer soap box that this needs to happen and happen frequently.

PERFORMANCE INFORMATION
Dates
Now – September 8 at Audrey Skirball Kenis Theater

Running Time
90 minutes, no intermission.

Late Seating
There will be no late seating or re-seating for seats numbered 205-210, 305-310, or 401-410 due to their location in the performance space. Patrons who arrive late or leave their seat during the performance will be directed to alternate seats as to not disrupt the performance, at the discretion of house management and subject to availability.

Warnings
Loud Music • Loud Sound Effects • Aisles Used for Actor Entrances & Exits

Content Advisory: This production contains sexual content and profanity.

Age Recommendation: 12+
All Geffen Playhouse productions are intended for an adult audience; children under 10 years of age will not be admitted.

Tickets
Ticket prices start at $45 and can be bought here at https://secure.geffenplayhouse.org/overview/the-brothers-size