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Feb 2010  |  By Dorothy Andries  |  Comments (0)

The Brother/Sister Plays at Steppenwolf's Upstairs Theatre

Be prepared to laugh and weep for the joys and the losses of life. "The Brother/Sister Plays" which opened in Steppenwolf's Upstairs Theatre Jan. 30, is set in the projects somewhere along the Louisiana Bayou in the "distant present," and it stings and sparkles with the spirit of the African-American/Caribbean community there.

But don't be fooled. It is as universal as a Thornton Wilder play and often as bittersweet. What is particular about one brother trying to save and finally just protect his wayward sibling or a man fathering a child and then leaving its mother to join the gay community? What is unusual about a young woman torn between a good man who loves her and a handsome hunk who betrays her? How many people have missed "the tide in the affairs of men" and go on to be "bound in shallows and in miseries?"

All these stories and more are packed into three short dramas written by Tarell Alvin McCraney, and directed with pitch-perfect clarity by Steppenwolf ensemble member Tina Landau. On Saturday they were performed in two segments: "In the Red and Brown Water" at 3 p.m. and "The Brothers Size" and "Marcus; Or the Secret of Sweet" at 7:30 p.m. Each play is self-contained, but it is best to see them in the aforementioned sequence, since many of the same characters reappear in subsequent dramas and by the third, 16 years had passed..

Steppenwolf presents these stories on a plain black and gray stage, which is quickly populated by a small vibrant community. Nine actors take various parts and one, Glenn Davis, plays first a father, Elegba, and then his own son, Marcus. The tight ensemble becomes a family, men and women moving in and out of each other lives convinced they have every right to be there. That means everyone seems to be butting into everyone else's life, but that is also the charm and appeal of many of these well-crafted characters, which evokes the saying "It takes a village."

The action begins with a conversation between a vibrant young girl Oya, played with innocence and poignancy by Alana Arenas, and her mother, Moma Moja, the authoritative Ora Jones. Both are members of the Steppenwolf ensemble.

Oya is a high school runner with wings on her feet on the verge of getting a track scholarship to college. But Moma Moja is dying and her daughter chooses to stay and care for her. "That spot in the sun, don't last forever," warns the recruiter from the state college, and his words are truer than she knows.

Men wander into Oya's life —her 16 year old friend Elegba, who has already gotten a woman pregnant; a superior physical specimen named Shango, played by Roderick Covington, who toys with Oya's heart, and a sincere, loving guy named Ogun Size, who stutters but eloquently assures her "I've got this home inside me." K. Todd Freeman, also an ensemble member, portrays Ogun and his character appears in all three plays. This subtle, powerful actor has a fine deep singing voice, and in Freeman's hands his story break our hearts.

Ogun and his errant brother were raised by their feisty Aunt Elegua. Jacqueline Williams takes that part and is unforgettable as a raucous, humorous mature woman, who has seen it all and doesn't mind saying so.

There are plenty of hijinks, dancing and laughter in this first play. One novelty throughout these dramas — the actors recited their own stage directions, for example "Ogun leaving" or "Shango opens his hand." At first it is jarring, but the playwright often uses for high comic effect and, surprisingly, it is very effective.

The second story, "The Brothers Size," introduces us to Ogun's younger brother Oshoosi Size, who has just spent a year in prison and appears to be up to no good. Phillip James Brannon has that role and the interaction between the two brothers was the most powerful part of the whole theatrical experience. Freeman's angry monologue "From Day One" was a stunning tour de force and Brannon's plea to be completely forgiven was forthright and compelling. The third character in the short drama was Elegba, who had met Oshoosi in prison and become his lover.

That play also included the most hilarious moment in the entire marathon — Freeman and Brannon doing a send-up of the song "Try a Little Tenderness," briefly channeling The Temptations.

The third play "Marcus; Or the Secret of Sweet" was not as strong as the others. Marcus is Elegba's son, now 16 years old. "Sweet" was a community code word for gay and Marcus is struggling with his homosexuality. He is haunted by a vivid recurring dream and searches for someone to interpret it.

There is no real conclusion to the story of these fascinating and oh-so-human characters. A storm — Hurricane Katrina? — begins to threaten the Bayou area and they disperse.

What could be more universal than a natural disaster?

"The Brother/Sister Plays" run at the Steppenwolf Upstairs Theatre, 1650 N. Halsted St., Chicago through May 23. For information, visit www.steppenwolf.org.