2 brothers share passion for family, music in ‘Bars and Measures’ Mosaic production based on powerful true story

By PATRICK FOLLIARD

In playwright and breakbeat poet Idris Goodwin’s “Bars and Measures” (now at Mosaic Theater), two brothers share family history and a passion for music. Still, their relationship remains a rocky one, shook by temperament, approach, and choices. Each of the pair’s actions and notions of loyalty, leave audiences splitting their sympathy between the two men.

Based on a true story, the action kicks off with Eric (Joel Ashur) visiting his older brother Bilal (Louis E. Davis) in a correctional facility where he’s awaiting trial on a terror related charge. Bilal, who was Darryl before converting to Islam, assures his younger sibling that it’s a case of profiling and will soon go away, however snowballing evidence indicates otherwise.

While both men are accomplished musicians — Eric on classical piano and Bilal on double bass — the elder pressures the younger to follow his lead into jazz, the only authentic way a Black man can musically tell his story, he says. They engage in some stinging banter surrounding the usefulness of a Juilliard education, and then return to the way they communicate best — music.

Without instruments, they opt for scatting (as in wordless jazz vocalization) Bilal’s latest music he’s composed in his mind. Close by watching is Wes (Afsheen Misaghi), an occasionally agreeable guard who’s unknowingly receiving a master class in something altogether different from his usual fare of Ted Nugent.

Between visits, Bilal remains confined while Eric is teaching music to rich kids, warming up to jazz, and clicking professionally and personally with classical vocalist Sylvia (Lynette Rathnam), an appealing nonobservant Muslim woman.

This keenly staged production marks out theater maker Reginald L. Douglas’ directorial debut as Mosaic’s new artistic director. Over a swift and affecting 80 minutes, Douglas heartily embraces the work’s intrinsic musicality and humor along its darker moments, all the while making great use of the intimate Sprenger Theatre at Atlas Performing Arts Center.

Scenic designer Paige Hathaway’s set is both beautiful and serviceable. Versatile space is backed by what looks like an unsettling sculptural installation with blue light streaming through four small barred windows cut into a concrete wall. Bilal’s beloved double bass stands on an upstage center platform. John D. Alexander’s lighting emphasizes emotional import and intent.

Time passes and Bilal’s court date draws nearer. Words like entrapment, unlawful, draconian, biased, and show trial are increasingly spoken. The system’s filling penitentiaries with Brown and Black bodies is mentioned, as is Bilal’s concern for the wellbeing of his mosque and justice for the Muslims, and those perceived as Muslim, who’ve been victims of hate crimes.

Using direct address, Eric provides some back story. He describes a stable, music-filled, vaguely Christian household not averse to celebrating heroic Muslims like Malcolm X and Mohammed Ali; a dependable, longtime civil servant father who escaped a mundane life through jazz and bebop; and a sometimes-wild older brother who ex- celled at music and marital arts.

Handsome Ashur risks giving a one-note, good guy performance as Eric, but that changes when his character unexpectedly reveals a vengeful, crueler side. Davis’ portrayal of angry yet vulnerable Bilal, is more nuanced throughout.

Celebrated musician Kris Funn has written an original score expressly for Mosaic’s production. As an added bonus, pre-show live jazz is presented in partnership with the DC Jazz Festival. At a recent press matinee, it was Funn himself elegantly plucking a jazz tune from his double bass on an alluringly lit stage.

‘Bars and Measures’

Through Feb. 26 | Mosaic Theater Company at Atlas Performing Arts Center | 1333 H St., N.E. $29 - $64 | Mosaictheater.org