I like to start these review posts with admitting my biases or perspective, so you can understand me in reading a review. I was extremely fortunate to be exposed to plays at a very young age. My mother being a costumer designer and producer of costumes took my siblings and I to many productions – large and small – through the years. Later on, she worked for Steppenwolf Theatre which is world class theatre right here in Chicago, and I have been able to see incredible works to help me love this art form. In addition, my last marriage was to an actress, so one of the benefits of that relationship was being exposed to so many great plays. So, simplified, I love seeing live theatre.
The other main bias I have for this review is I am not your average white, suburban raised American guy. After my time in the Peace Corps, my love and appreciation for people of color, and really more of African American culture is not very typical for a white dude. Through 2 marriages to women – African and African American, I have been exposed to a lot more of black culture than the next person. As such, I strive to see and support as much work by black artists as I can. I’ll never truly understand what it is like to be an African American in our troubled society, but in raising a bi-racial daughter, I think it is critical to be as informed and open to how life works for those different than me.
The Brothers Size is a play written by the incredibly talented, Tarell Alvin McCraney. McCraney is best known for his play, In Moonlight Black Boys Look Blue, which was adapted into the Academy Award Winning movie, Moonlight. I understand that The Brothers Size was originally written as a companion piece to that work. The play was originally produced along with 2 other plays (In the Red and Brown Water and Marcus; Or the Secret of Sweet) at Steppenwolf known as the Brother/Sister Plays a decade ago. The Brother/Sister Plays won the Jeff Award, which is the equivalent of the Tony Awards in New York. I was lucky enough to see In the Red and Brown Water with heavy encouragement of my mother. In fact, that is how I met my last wife. So, when I saw that The Brothers Size was being produced again under the Steppenwolf for Young Adults series, I jumped at the chance to see this play with my daughter and her boyfriend.
McCraney’s The Brothers Size is a beautifully written and well acted production that hits home. I believe that Tarell, as he is known, is one of the greatest writers of our time. The beauty in his language mixed with the deep roots into old traditions presented with heartfelt relationships make for a powerful experience. With only limited shows left through October 19th, I write this mainly to urge anyone to see McCraney’s work in any form. Hopefully, you will be able to see his work somewhere whether on screen or stage. I feel lucky to have seen his play.
The story centers around two brothers – Ogun Size or O (played by Manny Buckley), a dutiful, hardworking man who owns an auto shop, and his brother, Oshoosi Size or Osi (Patrick Agada), who has recently been released from prison after a 2 year sentence of crime unknown. Osi’s friend from prison, Elegba (Rashaad Hall), is the final character in this play. They live in an unspecified gulf town somewhere in a rural area.
The set of this play was very minimalist. The stage was covered in what was supposed to be asphalt, but likely rubber shavings. It appeared almost other-worldly like a distant planet in some ways. The minimalist set put the focus on the actors themselves. They utilized a couple of trap doors, one for entrances and exits, plus one section of the stage was raised on a hill. Finally, the open staging showed the concrete back wall, which served as both a bare backdrop and also a projection screen. I enjoyed that element that several times during the play the actors were projected on the wall whether it be from a character’s cell phone or for example when 2 characters were sitting with their backs turned to the audience, but their faces appeared on the wall for that scene. I thought this was a unique element by director, Monty Cole.
The opening of the play started with a rhythmic chant setting the tone. The three characters moved in unison to the beat of an African drum. The tempo and power of that start makes the play set in a contemporary world, but clearly the feel and heart of the play are rooted in older African traditions of storytelling. I really appreciated that element of Tarell’s work.
The theme of the play is around how mass incarceration destroys families. Osi who has just returned from prison struggles with finding and maintaining a job, when all he wants to do is get some action with the ladies. Ogun pushes Osi to be more responsible, but constantly reminds Osi of his mistakes. Meanwhile, Elegba, almost like a devil on the other shoulder character, influences Osi away from the straight and narrow, as he is Osi’s link and understanding to the life inside. I cannot relate to having a relative or friend who has been incarcerated, but the bond between Ogun and Osi made me feel for the closeness I feel for my own brother.
The beauty of the play for me rested in how Ogun wrestled with his duty as a brother and the pain he felt with losing him. After Osi is fired by Ogun at the shop, all Osi wants to do is go for a “ride” in a car. Elegba provides the vehicle, and Ogun fixes it up so Osi can have his “ride.” Unfortunately, Osi and Elegba get caught up with the law again.
The recitivism rate for ex-offenders in the US is at an alarming rate. In the statistics, I just pulled up, upwards of 70% of major crime offenders return to jail within 5 years. The play touches on how society really doesn’t allow for ex-offenders to truly re-integrate. As the play states, African Americans are guilty until proven innocent, and with ex-offenders, especially, there is no room for error, even after serving out the punishment. As I read in the play bill, McCraney’s own brother who was incarcerated and has struggled like Osi for decades now. Ex-offenders have limited employment options, and society literally does not trust them – emphasized in the play by both Ogun (Osi’s own brother) and the local sheriff.
In the end, Ogun has to say good bye to his brother again. Buckley’s performance as Ogun, and Tarell’s writing just bring this play to another level. Only Tarell can have me singing Otis Redding one minute, and 3 minutes later weeping for Ogun’s pain, as the light go down. Just a powerful, live theatre experience that I am still thinking about this morning.
Wegs