The subtle, emotionally affecting production starring Tawiah M’Carthy and Brad Cook is a powerful opener to the 2026 season
Photo via Belfry Theatre.
The Belfry Theatre’s first show of the new year, Maanomaa, My Brother (My Bird, My Brother), is a truly fantastic season opener.
Childhood friends Kwame, played by Tawiah M’Carthy, and Will, played by Brad Cook, reunite at Kwame’s grandfather’s funeral in Ghana after 25 years apart. Once close enough to call each other brothers, the two men have become something more than strangers but less than acquaintances. This relationship is the heart of the play, asking audiences to consider what forced them apart, and if their relationship can be repaired.
Told through flashbacks, the audience sees the actors transform from jaded, hurt adults into excited, carefree children. It is incredible to watch, not only because of how seamless the transitions from present to past are, but also because of how accurately both actors capture the essence of children. From the mannerisms to the vocal tics, I fully believed I was watching two kids play together.
Speaking of the actors, both M’Carthy and Cook did an incredible job, playing not only the lead roles of Kwame and Will, but also a host of minor characters, differentiated by body language and voice alone, with no major costume changes. There is a lot of care given to making the world feel lived-in, demonstrated in scenes where Will navigates from the airport to Kwame’s grandfather’s house, or Kwame and Will traverse their route to and from school. With some very smart staging and acting, only two actors embody an entire community and family.
Movement itself also enhances the show. M’Carthy and Cook move across the stage with a certain rhythm, almost like interpretive dance, especially in the flashback scenes. Every scene has a physical, tangible weight that sweeps the audience along for the ride.
The set is incredibly simple, with only a raised trapezoid in the center of the stage. The actors interact with it in specific ways that sell that they are in a house, or running to school, or in a forest, or in Toronto. These are enhanced by subtle and effective lighting design, which switches between the sun filtering through foliage, or just brightening or dimming to signify a scene change. It serves to keep attention on the actors, and is remarkable in its ability to incite a change in scenery with so little actual change.
Revisiting the leaps from present to past, these transitions also include shifts in tone — from the tense, uncertain air of two former friends — who have no idea how to broach the subject of their relationship — to an innocent, almost dream-like scene, where two kids ask their parents if they can hang out when their homework is finished. Each flashback is informed by the scene in the present, as Kwame and Will are forced to remember how they drifted apart. There is a tension underlying every scene, as the audience wonders, ‘how did these friends break away?’
The subtle, emotional scenes are effective in letting the audience understand these men as adults and as children, showing how the past informs the present, and how the present grounds the past.
Maanomaa is a truly touching show about friendship and grief. It has so much heart, and showcases fantastic performances that come together to tell a compelling story. It is an unmissable production.
The show runs until March 1st. Tickets can be purchased at the Belfry’s website.
