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A Review: “THE BROTHERS SIZE” NSU Theatre Company Delivers Masterful Revival

Norfolk State University’s revival of The Brothers Size masterfully reimagines Tarell Alvin McCraney’s powerful story of brotherhood and struggle, with director Anthony Stockard guiding a fresh cast through emotional depth and mythic drama.

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By Terrance Afer-Anderson
Special to The Guide

Ten years ago, Professor Anthony Stockard, Founder and Producing Artistic Director, Norfolk State University Theatre Company, staged Tarell Alvin McCraney’s “The Brothers Size.” It is a heart wrenching and wonderfully engaging tale exploring the often-complex bonds of brotherhood, by both blood and desirous acquaintance. The production emerged as notice, both locally and nationally, that Stockard was launching a new era at NSU. It was the first time the school had won national honors at the Kennedy Center American College Theatre Festival and received its first invitation to the International Black Theatre Festival.

The Kennedy Center honors included awards in Performance and as an Ensemble and won Christopher Lindsay, an NSU student at the time, the National Award for Distinguished Performance by an Actor, for his portrayal of “Oshoosi Size.” Lindsay returned to NSU in 2023 as an instructor and planted the seed for a 10th anniversary revival production.

On this occasion, Stockard chose a new cast of students. These included Justin Richardson as “Oshoosi Size,” Brandon Bradley and Gabriel Mensah alternating as “Ogun Size,” returning student Adam Moskowitz, who is working on an NSU graduate degree, as “Elegba,” and Antonio Mitchell and Taye Marcellin, alternating in the role of “Egungun.” For the opening night performance Mensah portrayed “Ogun” and Mitchell filled the role of “Egungun.”

Set in a Louisiana bayou, the playwright incorporated rich African themes and mythology as a most compelling backdrop for his exploration of brotherhood. In the powerful opening scene, the spirit Egungun orchestrates the ensuing trials of fraternal strife that will consume the brothers Oshoosi and Ogun and the disruptive interlocutor Elegba. It is all packaged in some high-energy choreography by Desmond Holland and Kavin T. Grant.

Oshoosi has been recently released from prison and shows up on his elder brother Ogun’s doorstep. He is one who has experienced tremendous difficulty finding his way in life and fits much of the stereotype of the incarcerated. He doesn’t want to work, is pre-occupied with unfounded dreams, suffers from a chronic naivete, and ultimately falls prey to Elegba’s tragic influence.

The ambitious Ogun runs an auto repair shop and not only provides his brother domicile but offers him a job as well. Rather, he insists that he works. Having well-assessed the flaws and weaknesses that beset Oshoosi, Ogun’s is a stern taskmaster. Yet, his great love for his brother is ever palpable and the two do enjoy fond moments of fraternal reflection.

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Enter Elegba, the very specter of the quintessential conman. While seemingly jealous of the unconquerable bond of brotherhood Ogun and Oshoosi share, he is burdened by an inescapable appetite for criminal activity. It is through his intervention that the two brothers find themselves forced to live separately anew.

What I found most noteworthy about this revival NSU production of “The Brothers Size” was the three distinctly different approaches to character deployed by the principal cast. Richardson gave a high-energy portrayal that wonderfully captured Oshoosi’s youth, his blinding naviete, and boundless dreams. Mensah’s well-paced and metered performance as Ogun was perfectly suited for the doting, more mature, no nonsense elder brother whose own dreams for Oshoosi, however unrequited, were a testament of his enduring love. Moskowitz’s greater depth of experience onstage was richly apparent in his seasoned, captivating crafting of the mischievous Elegba, at once beckoning and alarming.

The hallmark of Stockard’s masterful direction is that he does so with an invisible hand, the architect of a world where his cast resides, fully immersing themselves in his well-defined vision, constructed as well with his scenic, sound and costume design, supplanted by Jason Amato’s lighting design and Ramona Ward who assisted in designing the costumes.

Terrance Afer-Anderson is a writer, actor, director and producer. He is also President/CEO, TerraVizion Entertainment Network.

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