Drama Review: His Brother's Keeper

"littleboy/littleman," Geffen Playhouse Kenis Theater, Los Angeles, Oct. 1 – Nov. 2, 2025

October 21, 2025 | By Bruce R. Feldman

In Brief: A valiant, empathetic mashup of poetry slam, conventional playwriting, and performance art accompanied by a live percussive soundtrack that punctuates and propels the edgy drama. littleboy/littleman may be unorthodox in form, but above all it is a thrilling, memorable theatrical experience.

L-R: Marlon Alexander Vargas and Alex Hernandez in littleboy/littleman at Geffen Playhouse (Photo: Jeff Lorch)

Plays about struggling immigrant families, festering sibling tensions, and the frustrations of attempting to achieve the American Dream are a dime a dozen. But just when you think there’s nothing more to be said on those themes, along comes a flawless, stunning, take that defies expectations.

In Rudi Goblen’s littleboy/littleman, two strong-minded brothers are at odds. They were both brought by their mother from Nicaragua to America when they were kids. They grew up poor, disadvantaged, eagrly trying but never quite succeeding to fit into their new lives in a new country.

The older, Bastian (Alex Hernandez), works as a salesman, has a tidy apartment, desperately wants to become an American citizen. He is eager to assimilate, to be accepted, to erase any suggestion of his ethnic background. He even has filed papers with the court to change his name to an Anglo-sounding one.

His younger brother has no such aspirations. Fito (Marlon Alexander Vargas) writes poetry and makes very little money performing it. He sleeps on the Bastian’s couch. Bastian, of course, disapproves and announces early on that he’s arranged for Fito to work as a janitor. Fito must take the job or move out.

L-R: Bassist Tonya Sweets, Marlon Alexander Vargas, and drummer Dee Simone (Photo: Jeff Lorch)

Before this, the piece opens with a brief prologue, a poetry slam in an undefined location. The poet is Fito, but we don’t know that yet, leaving us to wonder what’s going on here? What are we seeing tonight?

The dramatist’s intentions become clearer when, after a few minutes, the lights go down and come up again on a modest living room. The two brothers, Fito and Bastian, are arguing. It’s a traditional drama now, as the conflict between the young men begins to take shape.

In short order there’s a sequence in which the boys act out tormenting dreams of their childhood and immigrant mother, a touch of expressionism or maybe a slight nod to magical realism. Then it’s back to the living room and Arthur Miller time.

Although the shape and tone of the piece continually shift, the play doesn’t feel disjointed. There’s a sharp sensory throughline that underpins Goblin’s expansive writing and Nancy Medina’s nimble yet tender direction.

The wonderful, intense performances by Hernandez and Vargas are both fully realized, crackling with desire, frustration, and resentment, as their quarrel builds to its unanticipated conclusion.

While the play is a two-hander, the brothers aren’t the only performers on stage. Tonya Sweets on bass guitar and Dee Simone on drums expertly demarcate the action and dialogue with an arresting percussive soundtrack that adds significantly to the drama’s impact. Goblin, the playwright, also composed the impressive score. My my.

This consummate world premiere production of littleboy/littleman, on stage at the Geffen now for a brief few weeks, is the exception that proves the rule: Bold writing, heroic acting, and vibrant directing can bring fresh perspectives to even the most overworked of stories.

“littleboy/littleman” Geffen Playhouse, 10886 Le Conte Ave., Los Angeles, CA 90024, geffenplayhouse.org, (310)-208-2028