They are just three men in modern-day Louisiana – Ogun Size (André Holland), a mechanic; his ex-con brother Oshoosi Size (Alani iLongwe); and a charismatic drifter, Elegba (Malcolm Mays). But in playwright Tarrell Alvin McCraney’s hands, they are also gods wrestling with eternal questions about duty versus freedom, protection versus possession, and the price of keeping those we love safely tethered to earth. These star-crossed men and their conflicts are the engaging subject of McCraney’s “The Brothers Size” currently running at The Shed.

But humankind is not the only star of this dynamic play, since mythology is an essential ingredient in Tarell Alvin McCraney’s narrative. The battles between gods and their creation also demand recognition. The mythological theme is strengthened at the beginning of the play when a sand or salt circle is drawn on the stage. This is the only “prop” for the production and seems to be a production staging choice of co-directors Bijan Sheibani and Tarell Alvin McCraney. Suzu Sakai’s bare stage design works perfectly with the addition of the circle, while Spencer Doughtue’s moody lighting further enhances the overall impact.

The characters’ names and attributes draw from Yoruba mythology. Ogun represents strength and labor, Oshoosi represents the Yoruba deity Oshosi (or Ochosi), who is the god of hunting, freedom, and justice in Yoruba cosmology, and Elegba represents the Yoruba deity Eshu (or Elegua), who is known as the trickster, messenger, and intermediary between the divine and human realms in Yoruba cosmology. 

After his release from prison, Oshoosi expresses a desire for independence and freedom and begins to feel stifled by Ogun’s protective nature. The dialogue reflects Oshoosi’s internal conflict about his past in prison and his current life, emphasizing the struggle to break free from the shadows of incarceration. Ogun’s insistence on responsibility and work contrasts with Oshoosi’s yearning for leisure and personal fulfillment. Oshoosi is unable to perceive employment at his brother’s body shop as a viable means of achieving the fulfillment he seeks.  André Holland and Alani iLongwe imbue their characters (Ogun and Oshoosi respectively) with palpable authenticity.

Their conflict drives the plot, which climaxes in Oshoosi’s meeting with Elegba in scene 5. Elegba is also an ex-con, former cellmate, and Oshoosi’s best friend. Here, McCraney continues his effective use of the mythological framework to explore how Black masculinity gets policed and constrained. The homoerotic tension between Alani iLongwe (Oshoosi) and Malcolm Mays (Elegba) powerfully explores Oshoosi’s struggles with his life choices. Oshoosi is genuinely moved in this tender scene by competing forces, each offering something valuable. That is the crossroads that Elegba represents – not a clear choice between good and evil, but a genuine dilemma between different kinds of truth.

The invocation at the beginning sets a ritualistic tone, connecting the characters’ lives to broader cultural narratives. The opening song (by musicians Malcolm Mays and Munir Zakee) and subsequent musical interludes create a rhythmic flow, reflecting the characters’ inner thoughts and feelings. Songs are used to express pain, longing, and the desire for connection, reinforcing the themes of brotherhood and resilience. It is important to see the musicians onstage as an integral part of the cast. 

The climax of the text revolves around Ogun’s decision to help Oshoosi escape potential legal troubles. Ogun prepares Oshoosi to leave, urging him to find his own path and freedom. He expresses unconditional love and support, despite the pain of separation. The play ends with Oshoosi leaving, symbolizing hope and the possibility of a new beginning.

Through poetic dialogue, music, and ritualistic elements, the play examines the complexities of family, identity, and the struggle for liberation in the face of societal and personal challenges. Don’t miss this compelling production.