The Brothers Size
Young Vic, London
LAST year, The Brothers Size opened to rave reviews and was nominated for an Olivier Award. It is often the simplest of stories that pack the mightiest punch and this is certainly true of American playwright Tarell Alvin McCraney’s remarkable debut. A modern-day fable set in Louisiana, it focuses on two brothers: Ogun Size, a hard-working mechanic who owns an auto-repair shop, and his work-shy younger sibling, Oshoosi, fresh out of the local penitentiary. After the premature death of their mother, Ogun was forced to take on the parenting role and continues to look out for his kid brother. But when Elegba, Oshoosi’s former cellmate, arrives on the scene and threatens to lead Oshoosi astray, their familial ties are put to the ultimate test.
What makes The Brothers Size so extraordinary is the way that it interweaves Nigerian Yoruba myth into what is ostensibly a domestic drama. Ogun is the name of the deity of iron. Oshoosi is the spirit of the wanderer and Elegba is the deity of the crossroads who presents different paths and choices. While these mythic elements may not be clear to all, it does not mar enjoyment of the play. The ritualistic staging is apparent. Performed in the round, the action is contained in a perfect chalk circle and is beautifully punctuated by Aline David’s meticulous choreography. With a bare stage and no props to distract, the characters deliver their own stage directions – a deft touch suggesting the oral tradition of Yoruba storytelling. In this world, dreams are as important as reality, so it is fitting that the lyrical grace of the characters’ dialogue is accentuated by Manuel Pinheiro’s live musical accompaniment.
Director Bijan Sheibani cut his teeth on Harold Pinter when he was the recipient of the prestigious JMK Award, so it is no surprise to find him in perfect harmony with McCraney’s poetic rhythms. Every beat or pause for breath is resonant with meaning. The acting is also flawless: Daniel Francis perfectly captures the loving, often exasperated older brother. Tunji Kasim shines as the well-meaning but apathetic Oshoosi and Anthony Welsh is suitably enigmatic as slippery charmer Elegba.
This is a big-hearted play: an exploration of brotherly love that survives against the odds. One of the most memorable and surprisingly poignant moments comes towards the end when the brothers sing along to Otis Redding’s classic pop song “Try a Little Tenderness”. The emotional intensity is only broken when the shadow of Elegba, described as a “glimmer of moonlight”, darkens their doorstep one last time.
Just 28 years old, McCraney is o a major new voice and one that has already been embraced by theatreland. If you want to catch an extraordinary talent, the Actors Touring Company’s co-production with the Young Vic is going on tour. McCraney’s other Louisiana drama, In the Red and Brown Water, is currently playing the main stage at the Young Vic and his new play, Wig Out, opens at the Royal Court this month.
Lucy Popescu
