My last post started with the assertion that in my estimation there are 7 Tier One theatre groups in the Washington, DC (DMV) area. This naturally suggests other tier in the rich world of this particular regional theatre, and that would be true. The DMV is home to over 40 incorporated theatrical companies and conglomerates. I dare say that it is only second to New York City. And so there are B Tier companies like Woolly Mammoth, Synetic Theatre, and Imagination Stage, and C Tier like Metro Stage, Mosaic Theatre, Constellation Theatre and 1st Stage (there are also D Tier--and excellence can be found at every level).1st Stage is located on the backside of a strip mall off of the Dulles Airport Hwy just outside of the beltway in Tysons Corner, VA. In fact, it feels like it's tucked so far into the corner of Tysons Corner that locating it is akin to finding buried treasure! At $39 for general admission to all productions for an adult ticket, it is also a theatre that is more than worth the effort to experience.
"The Brothers Size" caught my attention because of its author--Tarell Alvin McCraney--and his authorship of the story that became the Academy Award winning film "Moonlight". I have come to expect works by contemporary playwrights to be mediocre by comparison to well established members of the iconoclast ranks. I also accept that my depth of experience is pathetically shallow, and still when I first discover a true talent, I feel like I've just cured some horrible disease, right?
Well, Tarell Alvin McCraney is well established in the ranks of contemporary playwrights and this work demonstrates with ample craft and intention exactly why. It is a compelling and emotionally engaging exploration of Black Male relationships (and honestly, I could have omitted the disaggregation Black save for the intentions of the author). The brothers Size share a mother, a history and a home. Ogun the elder has been the good brother. Oshoosi the younger has been the miscreant, the loose player, the prince, and for his indiscretions he has served time in prison. There he befriend Elegba, another local black ne'er-do-well. The play covers a couple of days wherein Elegba's continued penchant for playing outside of the established order falsely incriminated Oshoosi threatening to return them both to prison. The drama is thick and interwoven to create a tight blanket of love, despair, conflict, and forgiveness. Redemption is left off, a thread for another time?
In this amazing play comes three talented and intense actors. The story is written like a clock with three cogs. They are all constantly moving, but depending upon the position of the hour hand on the clock face of the story, their role rises or falls in the spotlight. Every man was given a moment--more than one--truth be told. And each executed their role with perfect accuracy against the hour of the play.
I am often asked about the quality of education at my school or any other school. There is this presumption that a finer building or a better neighborhood automatically means a better education. Of course, this is bullshit. The same is true for the theatre. The classroom is no worse or no better than the teacher, and the play no better or no worse than the actor. This production was profoundly moving on the sole advantage of the actors. I left feeling very satisfied all round. Pitty tomorrow's the final performance.
