Review: ORPHANS at Jermyn Street Theatre

Lyle Kessler’s 1983 play is set entirely within a run down house located at one of the poorer neighbourhoods of North Philadelphia. Here, we meet a pair of grown-up orphan brothers. Treat (Chris Walley) the eldest, has fended for himself and his younger brother Phillip (Fred Woodley Evans) by using aggression and violence to intimidate and rob strangers, which he considers legitimate employment. In a bid to keep Phillip dependent, Treat has encouraged him to believe that he is susceptible to killer pollen and other air borne allergens, requiring him to remain at home where he fills his days watching TV, observing people passing by and possibly making a stab at trying to teach himself to read. When Treat brings home a drunk but bizarrely engaging and well-dressed Chicago businessman named Harold (Forbes Masson), he ties him up with the intention of extorting a ransom, but a penchant for escapology, means that he isn’t quite the ready made victim he appears and matters take an unexpected turn.

It is no surprise to learn that the play has been a favourite of Steppenwolf and that the part of Harold has attracted a number of notable actors including Albert Finney, who in 1986 won the Best Actor Olivier for his portrayal. Here, Masson imbues an almost leprechaun-like whimsicality to his performance as the older man who graduates from being Treat’s captive, to his employer, and becomes a mentor to the brothers having been an orphan himself. This apparent philanthropy and Harold’s need to locate himself at the dilapidated and inconspicuous house, hides a darker secret about his apparent wealth and business dealings, ultimately leading to the play’s tragic conclusion.

Director Al Miller marshals his trio of players with more than a passing stylistic nod to the works of Tennessee Williams, on a set by Sarah Beaton whose costumes add some surprising comedy value early in the second half by transitioning the characters from dead-end kids to men of means. Unfortunately however, in Treat’s case, the clothes do not make the man and his character struggles to rise above his historical personality failings.

The play, which, among others, attracted Sir Mark Rylance on press night, continues until 24th January.