"Orphans," the latest revival of Lyle Kessler's thought-provoking drama, is a captivating portrayal of family dynamics and manipulation, with outstanding performances from its three lead actors.
In this tense, claustrophobic world, two oddball brothers, Phillip (Fred Woodley Evans) and Treat (Chris Walley), find themselves at the mercy of Harold (Forbes Masson), an enigmatic stranger who infiltrates their household under false pretenses. The power struggle that ensues is both captivating and unsettling, as Harold skillfully manipulates the brothers' vulnerabilities to exert his dominance.
As the story unfolds, the themes of orphans and parental trauma come into sharp focus, with Harold's own experiences of growing up in an orphanage serving as a catalyst for his actions. The playwright skillfully weaves together this narrative thread, drawing parallels between Harold's past and present-day machinations.
However, beneath its gripping surface, "Orphans" falters, its themes of oppression and power struggles sometimes veering into the realm of symbolism or surrealism. While director Al Miller does an excellent job building tension and claustrophobia, the play's setup occasionally feels like it teeters on the edge of explanation.
Furthermore, some elements of the narrative feel problematic and unexplained, leaving the audience to wonder about the motivations behind Harold's actions. Are these rooted in fear of the outside world or something deeper? This ambiguity leaves room for interpretation, but also raises questions about the play's overall coherence.
Despite these limitations, "Orphans" shines brightest when it comes to its three lead actors, who deliver performances that are both captivating and heart-wrenching. As they navigate this complex web of relationships, their characters' vulnerabilities, power struggles, and pent-up emotions become impossible to ignore.
Ultimately, "Orphans" is a peculiar gem of a revival, one that will leave you breathless and invested in its intricate dynamics. While it may not be without its flaws, the play's outstanding performances and thought-provoking themes make it a must-see for fans of psychological drama.
In this tense, claustrophobic world, two oddball brothers, Phillip (Fred Woodley Evans) and Treat (Chris Walley), find themselves at the mercy of Harold (Forbes Masson), an enigmatic stranger who infiltrates their household under false pretenses. The power struggle that ensues is both captivating and unsettling, as Harold skillfully manipulates the brothers' vulnerabilities to exert his dominance.
As the story unfolds, the themes of orphans and parental trauma come into sharp focus, with Harold's own experiences of growing up in an orphanage serving as a catalyst for his actions. The playwright skillfully weaves together this narrative thread, drawing parallels between Harold's past and present-day machinations.
However, beneath its gripping surface, "Orphans" falters, its themes of oppression and power struggles sometimes veering into the realm of symbolism or surrealism. While director Al Miller does an excellent job building tension and claustrophobia, the play's setup occasionally feels like it teeters on the edge of explanation.
Furthermore, some elements of the narrative feel problematic and unexplained, leaving the audience to wonder about the motivations behind Harold's actions. Are these rooted in fear of the outside world or something deeper? This ambiguity leaves room for interpretation, but also raises questions about the play's overall coherence.
Despite these limitations, "Orphans" shines brightest when it comes to its three lead actors, who deliver performances that are both captivating and heart-wrenching. As they navigate this complex web of relationships, their characters' vulnerabilities, power struggles, and pent-up emotions become impossible to ignore.
Ultimately, "Orphans" is a peculiar gem of a revival, one that will leave you breathless and invested in its intricate dynamics. While it may not be without its flaws, the play's outstanding performances and thought-provoking themes make it a must-see for fans of psychological drama.
... but at the same time, I'm like, "wait a minute, what's going on here?" 
The acting is insane, don't get me wrong, but isn't it kinda weird that we're supposed to just buy into Harold's whole backstory without any real explanations? 
I mean, I get that ambiguity can be cool and all, but sometimes I feel like the playwright is just trying too hard to be edgy 
.
. I guess what I'm saying is that "Orphans" has some serious pros and cons, and I'm still trying to figure out where it all fits together 
. I mean, the performances are straight fire 
, and the themes of family dynamics and manipulation are super relatable. But at the same time, some parts feel like they're trying too hard to be deep and symbolic 
. Like, can't we just get a clear explanation for Harold's motives already? 
And don't even get me started on the pacing... it's like director Al Miller is playing a game of cat and mouse with the audience 
. Still, I'd watch this play again in a heartbeat, if only to see those lead actors bring their A-game 
. It's a weird, twisted gem that'll leave you feeling all the feels 
.
. But what really gets me is how the playwright explores the themes of trauma and oppression - it's like they're holding up a mirror to our society, showing us all the cracks 
. I love how the director builds tension and atmosphere, but sometimes I feel like it's just me, trying to piece together the narrative thread 
. Overall, "Orphans" is a wild ride that will keep you on the edge of your seat 
i mean, harold's motives are literally unclear half the time... like, is he just trying to escape his past or does he have some deeper issue? 
their performances bring so much depth to the story, even if the plot itself gets a bit wonky 
and I gotta say, those lead actors are seriously talented, man! They bring so much depth to their characters, it's like you can see the pain and desperation in them. But at the same time, I felt a bit lost, you know? Like, Harold's motivations were kinda sketchy and it was hard to tell if he was doing all that for real or just trying to confuse everyone. 
Chris Walley as Treat is a close second tho, his chemistry with Evan's is EVERYTHING 
And then there's Forbes Masson, man... he's like the master manipulator 
The way he weaves that narrative thread together is pure magic 
Don't get me wrong, it can be a bit confusing at times, but that's all part of the charm right? 
. Harold's character, especially, has some serious issues, but at the same time, you can't help but feel bad for him? It's like he's this complex web of hurt and anger, just waiting to explode 
. And those performances from Fred, Chris, and Forbes are giving me LIFE 
. Okay, maybe some plot points felt a bit wonky, but overall it's a wild ride that'll keep you guessing and invested till the end 
.
. And Chris Walley's Treat is sooo relatable, like we've all had those moments where we're trying to escape our own family drama 
. But yeah, the plot can get a bit confusing at times, like what's up with Harold's backstory? Is it fear or something deeper? Idk, but that ambiguity actually worked for me 
)
.
i need more info on that part... also, is the play set in the future or something? 
didnt see any mention of it.