Review: In The Brothers Size, Family Is a Burden and a Blessing

Tarell Alvin McCraney chose his play The Brothers Size as the first production in his new role as Geffen Playhouse’s new artistic director.  Having premiered in 2007 at the Public Theater in New York, it is the second part of a trilogy known as The Brother/Sister Plays.

The Brothers Size follows Ogun (Sheaun McKinney) and his baby brother Oshoosi (Alani iLongwe), who has just returned home after serving two years in prison. Ogun had practically raised Oshoosi, and their Louisiana neighbors and relatives had always blamed Ogun for his brother’s mistakes — this despite him owning a car shop and trying to be a very good influence. Oshoosi and his best friend from prison, Elegba (Malcolm Mays), return as more than friends, though their sexuality together is explored only sporadically. Elegba appears to be a trusted friend, even getting Oshoosi much needed transportation. But this “friend” has mischief in mind.

McCraney, who won an Oscar for his screenplay of Moonlight, reveals the frustration of having to carry a family member on your shoulders. It also conveys the deep love that leaves no other option. The dialogue is stylized and lyrical, and the characters read out stage directions for effect.

He enriches the story with African legend. Each of the characters’ names come from Yoruba mythology: Ogun, the responsible car mechanic brother, is named for the god of warriors and drivers. Oshoosi, the restless brother, shares his moniker with the god of the hunt. Elegba, the fellow ex-con whose name corresponds with the trickster god, instigated the intimacy between him and Oshoosi while they were in prison. The sexual politics are unclear, and there are also some intentionally odd transitions between Ogun and Oshoosi when they reminisce.

All three performances are stellar. McKinney projects his character’s dominance and yet lack of control in the brotherly chemistry. iLongwe, with a bright smile and impish charm, shows us a man who knows how to manipulate others into forgiving his sins. Though Mays’s character is the most enigmatic, he beautifully conveys his tenderness for his friend through glances.

Director Bijan Sheibani, who also helmed the Young Vic’s revival in 2018, confidently guides the tale, mixing modern America with African folklore. The characters break out into dance movements (by choreographer Juel D. Lane) and live music, provided by musician Stan Mathabane and West African percussion instruments. Lighting designer Adam Honoré floods the stage with a sticky haze. Costume designer Dede Ayite imbues the Yoruban themes in the actors’ clothing, comprising three distinct handkerchiefs of different colors and functions. The Brothers Size is a thoughtful, compelling tale of family and heritage mixing themes that will resonate with anyone who has known the burdens and challenges of siblinghood.