Orphans - Old Fitz Theatre

Overview

Orphans investigates the adults who grow from childhood neglect. It's about second chances, emotional damage, human goodness and unexpected shows of strength. Red Line Productions at the Old Fitz give a well-acted production of Lyle Kessler's character-based drama, which follows three highly imperfect, motherless men and their intersecting lives in North Philadelphia.

The play begins in the twisted world of two brothers just managing to scrape by: Treat and Phillip. Treat (Andrew Henry) is the world-weary delinquent. He revels in his powers of intimidation and conducts daily torture on his 'simple' little brother, Phillip (Aaron Glenane). Phillip is a severely anxious, agoraphobic, hypochondriac young man, suffering mental and developmental setbacks due to a lack of education, agency and love.

Director Anthony Gooley emphasises the different ways that humans can adapt to the hard-knock life. Treat converts his deep sadness into aggression. Henry fills the room with menace with the mere sound of his approaching boots. Meanwhile, Glenane reveals Phillip's hope and compassion to be his overwhelming advantage over 'able' people.

Then enters the third 'type' spawned out of adversity, Harold (Danny Adcock), as the 'saviour' figure. He's an intense yet lovable, 60-something Chicago orphan — toughened by the scars of his past but with a lot of love to give. Adcock's accent work is a marvel, and his delivery throughout the play really capitalises on the comedic role. He has a dynamic, diverse and textural face and voice. Gooley's direction very often relocates Treat and Phillip to the vantage point of the audience, so that Harold is talking to all of us. But he's not without his fair share of shady dealings and mystery. One particular moment of brilliance is his sermon on 'moderation', as he throws back his 15th full glass of bourbon in one gulp. Our human tendency for unwitting hypocrisy and naivety about our own flaws is good-humouredly explored in Orphans.

The grey dilapidation of the house, the winter's moonlight shining through tarnished glass and the nostalgic collection of songs and hymns effectively conjure an east coast USA to immerse ourselves in, even if we know nothing of orphans freezing to death in the winter.

Always suspicious of a North American story (accents and all) transplanted to our Australian stage, I did have my misgivings about the relevance of Orphans, but the acting is so considered and well-delivered that the story really impacts you. It's lovely to share some time in cold 'North Philly' with these men, and it's clear that Adcock, Glenane and Henry work very hard to expand the possibilities of their characters. They find their inner pain and softness, and transmit this to an audience who can't simply judge or dismiss them. Contrary to old Harold's theory in the script, the actors prove you can't know the individual just by "knowing the type".