The Brothers Size

Sizing up the Baxter Theatre’s current American production

It’s not often that authentic American accents - pronounced by authentic American actors - are heard on a South African stage. In fact, this is only the third time since South Africa became a new democracy that a touring US production has visited our shores.  

The Brothers Size, a production currently running at the Baxter Theatre’s Flipside until 9 June, was written by Tarrel Alvin McCraney. It is artfully directed by Timothy Bond and performed by an impressive trio of actor-dancer-singers: Sam Encarnación, Elijah Joshua Reese and Rodrick Covington.

The play is a stunning piece of visual theatre that is unapologetic in its fusion of performance styles and disciplines. It is a demanding piece – as much for the three actors as for the audience - but Encarnación, Reese and Covington rise to the occasion beautifully, and the audience is rewarded with a delightful spectacle, in the true sense of the word.

The plotline is deceptively simple, but the incorporation of different movement styles and music makes for rich storytelling that is humorous and heartbreaking and that delves into the psychological complexity of the material in a visually and aurally engaging way. The performers’ explosive renditions of West African and Haitian ritual dance sequences, as well as the exquisitely moving dream-sequence between Oshoosi and Elegba (reminiscent of an Alvin Ailey jazz ballet), make one wish the choreography would never end. What’s more when the actors bring Tarrel Alvin McCraney’s text to life, their powerful emotional presence is equally riveting. Of course, they also have beautiful singing voices.

The play tells the story of a young black man (Oshoosi), recently released from prison, taken under his older brother’s wing (Ogun). Despite the elder brother’s guiding efforts, the younger brother battles to reintegrate into society. The reappearance of his prison brother (Elegba) complicates life even further for Oshoosi Size, as a vicious cycle of bad choices and repeated failures - symbolised by the gleaming white circle in the centre of the playing area - threatens to engulf and imprison him, literally and figuratively.

The characters are named after deities of West African mythology, but the play is set in Louisiana’s bayou country – blending cultural references in a way that highlights the universality of the themes. McCraney’s dialogue is a melodious mash-up of poetic language and culturally specific slang. Elegba’s monologue, describing Oshoosi weeping for his brother in prison, is simply exquisite.

The set is minimalistic, yet full of symbolism and the acting style is heightened realism. The stage directions are performed as quirky asides, giving the audience brief moments in which to catch their collective breath. Yet the heightened performance style does not leave viewers unaffected by the emotional turmoil experienced within the ever-present white circle that demarcates the central playing space. In their portrayals of Ogun and Elegba, actors Reece and Encarnación are masterfully composed and subtle, despite the rigors of the style.

Director Timothy Bond has carefully crafted every moment of his production, to great theatrical effect, by balancing the interplay of the comic and the dramatic and underpinning it with movement and music.

Syracuse Stage, the visiting theatre company, would like to make this type of cultural exchange with South Africa a regular event. The cast and crew will be performing in Khayelitsha and holding workshops on a range of subjects during their stay; endeavours certainly deserving of both exposure and support.

By Heike Brunner

---

Like us on Facebook and follow us on Twitter to keep up-to-date with what's happening in our pretty city's theatre scene. Plus, subscribe to our weekly newsletter for a seven day weather forecast.