The Shed presents a powerful new staging of Academy Award-winning writer of Moonlight Tarell Alvin McCraney’s acclaimed play, The Brothers Size. This co-production with Los Angeles’s Geffen Playhouse marks the 20th anniversary of this groundbreaking work, which explores themes of brotherhood, resilience, and the complexities of the Black male experience. Directed by Bijan Sheibani and presented in the round in The Griffin Theater, this play invites audiences to witness the raw and intimate story of two brothers navigating life after incarceration, weaving into the storytelling the rich tradition of the Yoruba people of West Africa. The Brothers Size is a modern-day fable about two brothers in the Deep South. Ogun, the elder brother, embodies hard work and reliability, while Oshoosi, formerly incarcerated, is seemingly carefree and unpredictable. Their relationship is tested when the charismatic Elegba arrives, tempting Oshoosi back to his old habits. As the brothers wrestle with loyalty, freedom, and duty, their humanity is revealed through a raw and heartfelt exploration of the bonds of brotherhood.
Holland, having emanated something similar all those years ago in the same role, thus gives his Ogun the tragedy of understanding, making him feel all the more devastated by Oshoosi’s surrender to something that may prove self-destructive. But perhaps it’s that same awareness, and touch of history within the production itself, that allows the finale to land with such revelatory beauty, fueled by an incendiary hope and fraternal bond.
Twenty years have done something wonderful to McCraney’s play. It now feels more like an assured masterpiece than the first work of a prodigy; here, polished to a deep lustre, is the finest exertion of McCraney’s talents, elevated by a cast with staggering gifts. Holland’s self-effacing tiredness as Ogun is deliberately unshowy, and, while the actor’s name appears above the title in the program, he cedes the limelight to both Mays, who gives the graceful, flirtatious performance of a lifetime, and to iLongwe, who grows more radiant and funny as Oshoosi’s frustration with his brother sharpens. A certain inelegant hastiness in the plot has been resolved by treating the monologues almost as arias, giving them each an equal sense of grandeur, like the relentless finale of a fireworks display.
| 2007 | Off-Broadway |
Off-Broadway |
| 2025 | Off-Broadway |
Off-Broadway Revival Off-Broadway |
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