Orphans: Power Play

In a Philadelphia apartment strewn with outdated furniture, clothes and debris live Treat (Andrew McNee) and Philip (Michael Rinaldi), brothers orphaned at a young age and left to fend for themselves. Now grown up, Treat, the older and more aggressive of the two, provides for himself and his agoraphobic brother with petty thievery, while the latter indulges in his penchant for tuna, mayonnaise, and Errol Flynn movies.

This arrangement is disrupted with the arrival of Harold (Michael Charrois). At first kidnapped for ransom by Treat, Harold instead becomes the Alpha male of the household, taking on a fatherly role with the brothers. Smarter and older than the two young men, he cleans up their apartment, buys them Pierre Cardin suits and shows them the errors of their ways.

At the crux of Orphans is a clever discussion about the struggle for power. Throughout the story the audience watches as the authority shifts from Treat to Harold, exposing the latter’s need to suppress his brother for power in the first place. Philip’s rise from oppression is well conceived and brilliantly played by Rinaldi, who is completely believable as the persistently baffled brother. Overall, Orphans is a great script choice for emerging producers WINK Theatre. Originally produced in 1984 by Chicago’s legendary Steppenwolf Theatre Company, this is a well-written script that received critical acclaim for a production directed by Gary Sinise.

Unfortunately, it seems this production’s only endeavor to reach the intensity of the script is by speed in delivery, with the actors talking over each other’s lines throughout. Instead of an edgy play about misuse of power, I was treated to a pleasant production with laughs throughout. I’m not suggesting that there is no room for humour in Orphans – Director Stephen Drover successfully captures the playful interaction between the two brothers – there just wasn’t enough emphasis on the creepiness of the situation. The humour was so dominant that it cancelled out other elements (For instance, playing Tom Waits between scenes) that were meant to convey a gritty atmosphere.

In particular, local favourite McNee was completely miscast as Treat. As a big, goofy guy, McNee misses the mark by meandering somewhere between farcical and daft. Treat is supposed to be a loose cannon, an angry power profiteer taking advantage of his younger sibling. It wasn’t until the end of the show that the actor finally let loose and crossed the threshold into displaying genuine feelings, allowing the audience to become emotionally involved rather than just entertained. It is difficult to discern whether this weakness was due to McNee’s shortcomings as an actor or misguided direction from Drover, or a combination of both. Either way, this led the production towards being a whimsical farce rather than a genuine attempt at a study in power.

WINK Theatre presents Orphans by Lyle Kessler. Directed by Stephen Drover, performed by Andrew McNee, Michael Rinaldi and Michael Charrois. Stage Manager: Jethelo E. Cabilete. Set Design: Kerri Norris. Lighting Design: Nigel Brooke. Costumes: Jacqueline Becher. Assistant Stage Managers: Stephanie Bruce and Herb Varley. Set Construction: Colleen Sanford. Fight Director: Joshua Reynolds. At the Firehall Arts Centre until June 29.