Live Theatre's 'Best Brothers' is feel-good fun

True story: When my mother died, an older sister selected Bible passages to be read at the service and my younger sister wrote them down, changing most of the hes to shes and adjusting whatever else she felt should be adjusted.

Not surprisingly, my older sister was quite confused when the passages were read.

I tell this story because the brothers in Live Theatre Workshop’s “The Best Brothers” ring so true.

When Kyle’s and Hamilton’s mother dies in a freak accident involving a drunken drag queen, they come together to plan her eulogy and settle her affairs.

Trouble is, these two bros are opposites. Kyle gets on Hamilton’s nerves endlessly. Hamilton’s wishes are completely ignored by Kyle.

And the result is a comedy that is heartwarming without ever becoming too saccharine.

The Daniel MacIvor study of siblings is slight, but becomes much more in the hands of Steve Wood, who plays Kyle, and Stephen Frankenfield, as Hamilton.

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The two have a wonderful chemistry, which makes the bickering very funny and kind of touching.

Frankenfield does some of his best work here. His Hamilton is forever exasperated, more than a tad jealous of his brother’s relationship with their mother, and big-hearted. His transition from a resentful brother to one who freely embraces Kyle and all his quirks is completely believable.

Wood’s is the more exuberant character. He infused Kyle with a scattered charm. It was impossible not to fall for him.

Both characters take on the persona of their dead mother — who was quite a hoot. A pair of gloves, slowly and carefully donned, was the signal. Neither of the actors made a parody of the mother. Each gave her voice without acting like men trying to be a woman.

Here’s what we really loved about this play: At its heart is forgiveness and family and the desire to grow and reach out to others. That was all palpable in “The Best Brothers.”

Adding to the impact is Richard Gremel’s striking all-white set, which allowed the audience to imagine an office, a living room, a church and a park.

Director Sabian Trout shaped a piece that never had a mean moment — and there were plenty of opportunities. Consequently, the fast-moving play won the audience over quickly without denying us the tension needed to keep us transfixed. And that’s the best.