THE BROTHERS SIZE

                                                     It’s good to remember death
                                                                                          Elegba

The Geffen Playhouse gained a fresh new artistic director, Oscar winner Tarell Alvin McCraney for “Moonlighting,” last year who is off to a great start in starting the new season with a play he penned while studying playwrighting at Yale School of Drama. The play “The Brother/Sister” is divided into three parts. Like August Wilson’s “The Pittsburgh Cycle” but shorter, “The Brothers Size” is the second act.

The story is about the combative relationship between older brother Ògún (O-GOON) (Sheaun McKinney is a powerful force) and little brother Oshoosi(O-CHEW-C) Size (Alani iLongwe is extremely charming). Oshoosi has been out of prison for 3 months and reluctantly tries to re-acclimate back into society. Big brother O is a mechanic and hoped that his lazy, little bro would grow the hell up. All Oshoosi wants to do is get a car and drive far away.

Ògún keeps making references that Oshoosi will return to the pen quicker than he got out. Oshoosi wishes Ogun would “stop being so hard.” Interrupting the argument is Oshoosi’s friend and ex-inmate Elegba (EH-LEG-BWA) (Malcolm Mays provides the much-needed humor in this strained atmosphere). As the former convicts greet and show each other love, Ògún crosses his arms and gives the intruder a mean-ass stare.

The story takes place near the Bayou in Louisiana in the present time. The names derive from the Yoruba religion, from West Africa, also referred as, Santería and Haitian Vodu. Ògún is a warrior and the god of iron. So, it makes sense he owns a mechanic shop. In the spirit world, Oshoosi is the god of food, wisdom and astute hunting skills. In this scenario, he is hunting for a ride to get the hell out. Enter Elegba, with the answer to Oshoosi’s problems. In Santería, he is the god of roads, travels and carries above his head a set of keys. Though a trickster, he has the power to appear young, old, strong, feeble and has the keys to enter whichever world he chooses. Actor Mays wears a black and red scarf on his head. Elegba the god wears a red bandana and a red and black beaded necklace. Representation is key.

Except for multi-talented musician Stan Mathabane—he played a bass flute, tenor sax, skekere and other instruments—the actors have nothing on stage. Except for pouring white powder in a huge circle, they heavily rely on their body to make the intimate space bigger. There is some excellent step choreography, courtesy of choreographer Juel D. Lane, done within the circle, along with blow-up arguments, fights, threatening to fight and lots of screaming. What is very original in this show is how the actors speak both the stage and emotional directions. Both are mentioned and acted out. Most memorable is when Oshoosi speaks on how his day is going and Elegba comes in.

Oshoosi Size on lunch break/drinking a Coke-cola.
Singing a song/ he sings
Elegba enters, drifting like the moon.
Sing that song!

That is a genius move on behalf of McCraney. Who would have that by including both the stage and emotion directions would cause so much laughter? It works!! The flow continues without any interruption. Until trouble comes around. The former inmates take a drive and things become a little more intimate, until reality snaps back into Oshoosi’s head. Worse than that, is when the sheriff pulls them over and discovers a controlled substance that Oshoosi had no idea was there. To save his younger brother, Ògún hands over everything he owns and tells him, to leave. He will no longer admit his existence. The brothers share a tender moment before Ògún yells “end of scene.” The hour and 30 minutes go by quickly. It’s almost impossible to retain so much emotion. My God! The writing is forceful and grabs you by the throat and McCraney nails it every time. The acting is a beautiful thing and under Bijan Sheibani’s direction, the story comes to life and stays with you long enough to discuss over dinner how explosive it was. An absolute best.

DETAILS

WHAT: THE BROTHERS SIZE
WHERE: Audrey Skirball Theater at Geffen Playhouse
LOCATION : 10886 Le Conte Ave., West L.A.
WHEN: Wednesdays-Fridays at 8 p.m., Saturdays at 3 and 8 p.m. Sundays 2 and 7 p.m.
HOW MUCH: $45–$129
RUNNING TIME: 90 minutes. No intermission
RESERVATIONS: Log on to www.geffenplayhouse.org