Entertainment
Review: The Tarell Alvin McCraney era begins at the Geffen with powerful 'The Brothers Size'
Playwright and Oscar-winning screenwriter Tarell Alvin McCraney (“Moonlight”) was appointed artistic director of the Geffen Playhouse last year, but the McCraney era really began on Thursday night with the opening of a muscular revival of “The Brothers Size” at the Geffen Playhouse’s intimate Audrey Skirball Kenis Theater.
The play, part of the acclaimed trilogy “The Brother/Sister Plays,” launched McCraney’s meteoric rise in the American theater. McCraney was still a student at the Yale School of Drama when “The Brothers Size” was first produced. When I saw the play at the Public Theater in 2009 as part of the trilogy, I was keenly aware of being in the presence of a breakthrough talent.
What stood out about all three plays (including “In the Red and Brown Water” and “Marcus; or the Secret of Sweet”) was the freedom of the playwriting voice — the mix of lyricism and raw realism, the musicality blending joy and pain and the playful theatricality that trusted the imaginations of theatergoers and turned stage directions into spoken-word poetry. But none of this would have had the impact were it not for the sensitivity illuminating marginalized lives, a sensitivity capable of deconstructing race, class and gender while honoring the cultural soil from which the characters have emerged.
Alani iLongwe, left, and Sheaun McKinney in “The Brothers Size” at the Geffen Playhouse.
(Jeff Lorch)
Drawing on West African spiritual traditions, “The Brothers Size” relates the mythic story of two bayou country Louisiana brothers in conflict that is as tender as it is fierce. But the real subject is the plight of modern Black masculinity, victimized by white supremacy and harassed by a justice system that would rather lock up Black men than provide them with decent opportunities.
Hardworking Ogun Size (Sheaun McKinney) is unyieldingly committed to the straight and narrow path. That is not the preferred road of his younger brother, Oshoosi Size (Alani iLongwe), who has been recently released from prison.
Oshoosi resents Ogun’s martinet ways. He’d rather sleep late than wake up before dawn for a grueling day of fixing cars under his brother’s browbeating supervision. “That’s your job,” Oshoosi tells him. “That car shop got your name, that’s your job.” Ogun, knowing that employment is part of Oshoosi’s parole conditions, pointedly asks where’s his job then.
The names of the characters are taken from Yoruba mythology. Ogun is a warrior associated with metal work; Oshoosi is named after a wandering spirit renowned for hunting as well as contemplation and artistic pleasure.
There’s a third character, Elegba (Malcolm Mays), whose name signifies the trickster. And that is indeed the part he plays in what develops into a contest for Oshoosi’s soul.
Ogun wants to protect his brother from succumbing to the same mistakes. Elegba, jealous of the brothers’ bond, wants to liberate the erotic life of his former fellow inmate and bestows on him a gift that is simultaneously a ticket to independence and a trap.
Oshoosi must choose between different forms of freedom and different kinds of imprisonment. Can he deny his flesh and blood longings and his yearning for relief from an enduring sorrow?
The homoerotic dimension of Oshoosi and Elegba’s relationship is undeniable, but in this co-production with New York’s the Shed, director Bijan Sheibani doesn’t allow the queerness to dominate the play’s larger exploration of Black masculinity. Of the four productions I’ve seen of the play, including the Old Globe’s and the Fountain Theatre’s, this is perhaps the straightest.
Which isn’t to say that it’s repressed. Gay love and lust break through, but the revival is more curious about the range of outlets for tenderness among Black men. “Try a Little Tenderness,” the Otis Redding classic, figures prominently in a play in which acceptable expressions of love between men is punishingly limited, leaving an ache that can grow dangerous when unconsoled.
Sound designer, composer, musician Stan Mathabane in “The Brothers Size” at Geffen Playhouse.
(Jeff Lorch)
Ideally suited to the Geffen Playhouse’s second stage,“The Brothers Size” unfurls in darkened concentration. The audience surrounds the playing area as though witnessing a prize fight or highly athletic dance piece.
The black stage is encircled with white powder, creating a special zone of theatrical imagination. Musician, composer and sound designer Stan Mathabane supplies live accompaniment that lends the action a percussive build.
Suzu Sakai’s scenic design, Adam Honoré’s lighting and Juel D. Lane’s choreography work in tandem to intensify the sense of propulsive physical theater. Dede Ayite’s costumes conceal the characters’ individuality unnecessarily, but Sheibani seems opposed to superficial over-illustration and has the actors discover the roles anew through the personal textures they bring.
McKinney’s Ogun is the clearest presence on stage, a reflection not only of his more single-minded character but also of the lucidity of his playing. iLongwe gives vent to the furious restlessness inside Oshoosi without losing sight of the grief that’s animating it.
Mays’ Elegba is too cagey to be pinned down. He lays down temptations and then acts as though Oshoosi is simply following the dictates of his own wild nature. Here, Elegba’s jealousy is as complex as Ogun’s tough love. Oshoosi, drowning in emotional need, is only cast further at sea by the battle to control him.
McCraney, who translates buried anguish into monologues of rough delicacy rarely found outside the plays of August Wilson, finds the mythological patterns in lives that have been underrepresented and uncompassionately seen. For all the high testosterone conflict in “The Brothers Size,” the play makes a social justice case for the healing power of male vulnerability and the saving grace of brotherly (in the widest sense of the word) love.
‘The Brothers Size’
Where: Audrey Skirball Kenis Theater at Geffen Playhouse, 10886 Le Conte Ave., L.A.
When: 8 p.m. Wednesdays-Fridays, 3 and 8 p.m. Saturdays, 2 and 7 p.m. Sundays. Ends Sept. 8
Tickets: $45–$129
Contact: (310) 208- 2028 or www.geffenplayhouse.org
Running time: 1 hour, 30 minutes (no intermission)
Entertainment
Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman
Choosin’ to stay home instead of trekking out to Indio for this weekend’s Stagecoach festival? Don’t worry, you’ll be able to listen to all the country music your heart desires. You can get your country heartbreak on with Ella Langley, Bailey Zimmerman and Cody Johnson, and then rock out with Counting Crows. If you prefer EDM, you can catch Diplo and Dillstradamus (Dillon Francis and Flosstradamus) as Friday’s closing acts.
The festival will be livestreamed on Amazon Music, Amazon Prime Video and Twitch beginning at 3 p.m. On Sirius XM’s The Highway (channel 56), you can listen to exclusive interviews and live performances along with a special edition of the Music Row Happy Hour. The station Y’Allternative will also be covering the festival on Friday evening.
Here are updated set times for the Stagecoach livestream Friday performances (times presented are PDT):
Channel 1
3:05 p.m. Noah Rinker; 3:25 p.m.; Adrien Nunez; 4 p.m. Ole 60; 4:25 p.m. Avery Anna; 5 p.m. Chase Rice; 5:55 p.m. Nate Smith; 6:50 p.m. Ella Langeley; 7:50 p.m. Bailey Zimmerman; 8:55 p.m. the Red Clay Strays; 10 p.m. Cody Johnson; 11:30 p.m. Diplo
Channel 2
3:05 p.m. Neon Union; 3:25 p.m. Larkin Poe; 4 p.m. Marcus King Band; 4:50 p.m. Lyle Lovett; 5:35 p.m. BigXthaPlug; 6:30 p.m. Noah Cyrus; 7 p.m. Wynonna Judd; 8 p.m. Counting Crows; 8:50 p.m. Sam Barber; 10 p.m. Dan + Shay; 10:45 p.m. Diplo featuring Juicy J; 11:05 p.m. Rebecca Black; 11:45 p.m. Dillstradamus
Sirius XM Music Row Happy Hour
1 p.m. Avery Anna; 2 p.m. Nate Smith; 2:30 p.m. Josh Ross; 3 p.m. Cody Johnson; 3:30 p.m. Gabriella Rose; 5:15 p.m. Nate Smith; 7:50 p.m. Bailey Zimmerman; 9:30 p.m. Cody Johnson; 11 p.m. Diplo
Sirius XM Y’Allternative
5 p.m. Ole 60; 6 p.m. Larkin Poe; 7 p.m. Marcus King Band; 8 p.m. Sam Barber
Movie Reviews
Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows
Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.
What Makes It Work
The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.
Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.
The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.
Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.
Nailed It
This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.
The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!
The Verdict
This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.
Entertainment
Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns
A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.
Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.
In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.
As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.
“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.
He is seeking $35 million in damages.
Representatives for Live Nation were not immediately available for comment.
The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.
Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”
Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.
Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.
Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”
In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.
Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”
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