REVIEW: The Brothers Size at Trustus Theatre – by Jennifer Hill

There’s something beautiful happening over in the Trustus Side Door Theater right now, and I’m afraid you’re going to miss it. Director Chad Henderson skillfully brings us The Brothers Size, part two in the Brother/Sister plays by Tarell Alvin McCraney. Part One, In The Red and Brown Water, was performed on the mainstage at Trustus last season and also directed by Henderson. Each play in the trilogy is linked, but can also easily stand on its own. This particular production is a gem, the kind of show that leaves you feeling like you’re a little bit better off for having seen it; your eyes now wider and your heart a little more open. It’s theater at its best and it’s happening in your city.

From the moment I walked into the intimate Side Door Theater, I felt like I was transported to the Louisiana Bayou. The sound of cicadas fill the air, and butterflies in illuminated jars (tap on one and you’ll get a surprise) rest on simple but effective stage pieces designed by Kimi Maeda (a JAY visual artist nominee for 2015). The lighting design by Chet Longley and the sound design by Baxter Engle effectively complete the scene.

The seating is in the round and in this case that means you are part of the stage. There is something magical about being so close to the performers. The energy exchange between the actors and the audience takes things to another level, especially with actors as talented as these. The characters in the play are named after and based off of deities in the Yoruba religion, which originated primarily in southwestern Nigeria. Ogun Size (Jabar K. Hankins) is a hardworking mechanic who shows tough love to his troubled younger brother Oshooi Size (Christopher “Leven” Jackson) who has recently been released from prison.  Oshooi’s friend and ex-cellmate Elegba (Bakari Lebby) is the unknown quantity that sets the play in motion. All three actors are skilled, passionate, and do excellent work here. The raw emotion in Hankins' eyes broke my heart in such a beautiful way, another benefit of being in such an intimate space. The actors tell a highly relevant story to our contemporary moment, examining confinement, freedom, loss of innocence and family.  As I stood to leave I don’t think there was a dry eye in the house. Henderson has created a very physical, very alive piece of work. He has a unique perspective and a talent for creating moments where music and movement come together harmoniously. He and his cast create a story rich in rhythm and beauty.

I urge you to go see this show, not only because it is good but because if we support it then we can have more things like it. And I, for one, want more things like it. Get your tickets now; the show runs through October 31^st.

Diving a little deeper … In the Red and Brown Water at Trustus Theatre: A Preview by Rosalind Graverson

 

When Columbia starts trusting the arts programs and supporting them more, the organizations can start taking more risks and exploring. Trustus Theatre has reached a point where they can start sharing unique theatre experiences with their audiences. That's exactly what their production of In the Red and Brown Water is.

First in The Brother/Sister Plays trilogy, written by Tarell Alvin McCraney, the series blends Yoruba mythology with a modern day story set in the Louisiana projects. The trilogy is described as a choreopoem, combining poetry, movement, music, and song. The language throughout the show is beautifully lyrical, but it's not what you expect to hear from the average citizen of Louisiana.  Along with the poetry, the actors are also called to say their stage directions, reminiscent of Shakespeare's asides.

The cast features some familiar faces: Avery Bateman, Kendrick Marion, Katrina Blanding, Kevin Bush, Annette Dees Grevious, and Jabar Hankins; and some new ones as well: Bakari Lebby, LaTrell Brennan, Felicia Meyers, and Leroy Kelly.

Not only does the audience get to experience something new, but the production team and cast do as well. We asked Avery Bateman to share some of her experiences getting to know her character, Oya, and Kendrick Marion to explain some of the differences in the rehearsal process between this production and a more typical play or musical.

Avery: “Oya is a completely different character in comparison to the others I've portrayed throughout the years. She delves deep into a part of my spirit that I have not returned to in a while. She is both regal and vulnerable. Her regal persona is that of her Orisha/Goddess name. "Oya" known as "The Mother of Nine" is the orisha or storms, wind, change, magic, death and the cemetery, and the guardian between worlds. She is the bringer of death and new life (hope). Oya's orisha persona has every right to stand high and tall with pride. However, her vulnerable persona, her humane side is a type of soul that is complex and broken. Oya's broken spirit gives her a complexity that I as an actress must sit and think about every now and then so that I give her the correct amount of balance when on stage. I must say that I am extremely blessed to not have experienced all that "Oya the human" has experienced in my youth. Everything that she loves deeply is taken from her against her will. I've not had the privilege of portraying a person of this definition in all my years of theatre. I've only ever portrayed the comic-relief character or the misunderstood villian or the obliviously happy sunshine. All of them had great dimension but none of them reached into my chest and broke my heart as much as Oya. I love this character; she has helped me understand love and life in a way I don't think I would have ever understood fully if not for this show.”

Kendrick: “This production differs from your normal straight play because there are so many other elements and textures involved with this piece. The text itself reads like poetry, and McCraney challenges the actors to portray it as such, while still making it feel natural and conversational. Both the music (most of which we arranged) and the stylized movement help to tell the story in an almost ethereal way. This has been an incredibly challenging piece, but an amazing experience, and I cannot wait for Columbia to take the journey to San Pere, Louisiana with us!”

Also, in the gallery at Trustus, Ernest Lee , The Chicken Man, will have his art showing and for sale. Wednesday, February 4th at 7:30, he will have a meet and greet and give a talk, "The Life and Art of Ernest Lee, The 'Chicken Man.'"

Be sure to get your tickets for In The Red and Brown Water, opening Friday, January 23rd and running through February 7th.