PLAY ANALYSIS DOCUMENT
Schwartz
TITLE: Brother Size
DATE: May 22, 2009
PLOT: After serving his time
in prison, Oshoosi Size is living
with his brother Ogun who
makes him work at his garage.
The two have spats as Oshoosi
and his ex-con friend Elegba
reminisce about prison.
Eventually, Elegba decides
prison was better for them
than the outside world and
tries to get them both(?)
arrested. Oshoosi makes up
with his brother and flees
town.
KEY LIGHTING
ELEMENTS:
The identical lighting in the
beginning and end of the play
is significant as it forces a
direct comparison between
Ogun’s initial asking from and
his final giving to Oshoosi.
KEY COSTUME
ELEMENTS:
Costume does not seem to be
mentioned in the script.
LANGUAGE:
English in a notably African
dialect is used throughout the
play, in large part to highlight
the race of the characters as
they deal with, well, racial
issues.
MESSAGE: Brotherhood is less of an ideal or one-time proclamation and more of an ongoing relationship – and not necessarily
a familial one.
YOUR NAME: E.J.
PLAYWRIGHT: Tarell Alvin McCraney
MIS-EN-SCENE: 20 WORD SUMMARY:
Nothing specifically mentioned. Three black men attempt to find
balance between lust, love,
brotherhood, the law, and
expectations that always seem too
high.
NOTES: CONFLICT:
 You trying to lock me up again? You trying to make my The main conflict in this play lies
feet stuck? – Oshoosi, Act 1 Scene 4 within Ogun and Oshoosi’s
 Was Oshoosi and Elegba’s relationship sexual in jail? relationship, as they have
 Great usage of timing. different opinions as to what
 Fraternal relationships are very powerful. I intend to would be best for the latter.
play with family in the future.
KEY ELEMENTS BEYOND
SPOKEN LANGUAGE:
Through visualized dream
sequences, physical action
CHARACTERS: becomes a very direct means of
Ogun Size: Older brother, owns a car shop. Feels a sense of storytelling. Similarly, the
responsibility over his brother. dancing segment near the end
Oshoosi Size: Younger brother, who unwillingly starts of the play shows fraternal
working for Ogun. Ex-con who seems to have been getting bonding in a way previously
into trouble his whole life. unseen by the audience.
Elegba: Oshoosi’s close friend from prison who calls himself
Shooshi’s brother.
STRUCTURE: KEY PROP ELEMENTS:
The play consists largely of two person scenes between The money which Ogun gives
Oshoosi and Ogun, with Elegba popping by every so often. Oshoosi at the end of the play
It is rare to have a scene without Oshoosi, who takes has significance, as it marks the
something of a protagonist role. This makes the final first time we’ve seen Ogun
stretch of the play particularly powerful, as the audience selflessly care for his brother. It
has learned to see things from his perspective. marks an
IMAGERY: SOUND:
Elegba touching Oshoosi’s thigh, the dark prison, Oshoosi Music has an important
crying for his brother in prison, description of the Sheriff’s characterizing function as
racially infused interactions, the blue car which Ogun fixed. characters occasionally sing, but
without a known tune it
becomes difficult to determine
emotions behind songs.