Described as a classic revisited, Jermyn Street is a perfect venue for this revival. The intimate basement space helps Kessler’s three-hander to build tension and claustrophobia. Rating
Good
In a rundown house in Philadelphia, Phillip (Fred Woodley Evans) is trapped. Believing that the very air outside is toxic to him, he waits at home every day for his older brother Treat (Chris Walley) to come home. There is a strange co-dependency between them and clear signs that this has been established for a long time. Kessler sets this up quickly and convincingly, with humour doing a lot of the early work before darker currents surface. All we learn is that they are orphans who briefly knew and loved their mother but not their father.
Kessler uses a lot of comedy to easily and quickly introduce us into their relationship, their strange game of tag, the bullying of Phillip by Treat, but matched by the sense that there is something caring and protective struggling under the surface. A small-time crook, a pickpocket and opportunist, Treat picks the wrong victim one evening, bringing home a very drunk Harold (Forbes Masson). The next morning, it all goes a bit wrong and Harold will soon change both Treat and Phillips’s lives.
Orphans isn’t a smooth piece. There are moments where Kessler’s writing feels blunt rather than subtle. The second half, in particular, feels more designed than natural, the tension is built by escalation rather than inevitability. That said, the rawness really suits this production, the roughness a part of the play’s identity and it is happy with that slightly uncomfortable jaggedness.
The performances are really key here and the cast step up nicely. Walley gives Treat a brittle intensity, we are never quite sure what is going on in his head and how he will react, we are kept guessing. Evans’ much gentler Phillip feels almost like a lost soul, contrasting strongly with an innocence and a naivety, both actors really build this contrast. Masson has a tricker job, the gangster on the lam who could so easily tip over into caricature. Harolds motivations are a bit murkier, less fleshed out with a lot for the audience to assume, less of a fully sketched out character, Harold is more a catalyst for the dramatic changes for the brothers. Masson leans into charm and really brings across a sense of concern and empathy most obviously for Phillip but also a hope that Treat can be reached.
Al Miller’s direction clearly takes advantage of the quality of the cast, able to trust that the impact of the play comes from their interactions. With the intimacy of Jermyn Street Theatre, Miller allows the actors to really fill the space, adding to the story’s claustrophobia.
It is a strong revival, clearly choosing not to paper over the play’s rough edges but to hand it to a strong cast and allow them to really bring out the best. It’s darkly funny and emotionally bruising and well worth catching.
Written by Lyle Kessler
Directed by Al Miller
Set and costume design by Sarah Beaton
Lighting design by Simeon Miller
Composer and sound design by Donato Wharton
Orphans plays at Jermyn Street Theatre until Saturday 24 January.
