By Liz Eichler
Orphans by Lyle Kessler is now playing at Liberty Exhibition Hall, presented by Clifton Players. It is the story of two brothers who have been abandoned by their father, and then lost their mother. For years, Treat has been in charge. To make life easier—or to make sure he stays in charge—he tells his younger brother Phillip that he is allergic to everything outside.
Phillip, now an adult, watches television or looks out the window all day, naively putting up with his brother’s abuse. Then Treat kidnaps a drunken gangster named Harold, and the three men’s lives change.
Production Team
Directed by Kevin Crowley, the show moves along at a quick pace. Scene transitions are clean, with lighting and sound changes (Annette Ouchie). He ensures there is a difference in the set (Kevin Kunz) between Act 1 and Act 2, depicting the positive changes in the group with Harold’s presence. Costumes (Pam Shooner) also reflect this change. The characters–and script–move into some uncomfortable territory, but in the guise of the 1980s Philly setting, Crowley has encouraged the characters to really lean in.
And they do.
Performances
For years I’ve compared Carter Bratton on stage to Jack Nicholson–there’s always something slightly unhinged below the surface. In Orphans, Bratton is perfect casting–and flies that unhinged flag high, giving a very believable performance of someone who is highly combustible. He also reminds me of a feral cat who lives around my house, who flinches if a human gets too close, but is focused, tense and ready to tear the wings off a bird in an instant. He is a fast talker, but missing the Delco accent. He captures the stuck child in Treat, quickly showing frustration, which endears him to the audience. These moments balance the volatility of his character, making him more human.
Tank Thacker commits to Phillip, a wide-eyed semi-obedient brother. He’s the 5-year old kid who says he didn’t eat the chocolate while it is smeared on his face. But Phillip has found ways to go behind his brother’s back, and escapes into the make-believe world of the movies where Errol Flynn is his friend. Thacker is believable, joyful, and I’d like to see more of this performer.
As Harold, Mike Shooner is both warm and in control, despite his circumstances. There’s something about him that makes you believe he grew up as an orphan, and has enough street smarts to survive. And indentify a kid who needs just an encouraging squeeze or is a “Dead End Kid.” Occasionally you can hear the Chicago in him.
Overall
One must assume neither went to school after mom died, and in this universe there is no CPS, so there is a suspension of disbelief that they could live in the house all this time. And that wildman, Treat, has actually paid the utility bills, etc. as a child.
But that’s not really the point of Orphans.
This is a wonderful character study. As Kevin Crowley said to me before the show, this is what the world would look like without women.
Each of them is feral, in different ways.
Harold is the lonely tomcat looking for a young protégé. Treat is the unhinged one who attacks first and asks questions later. Phillip literally hides behind the couch and in closets because that is where he is most comfortable.
Then Harold walks into their world and begins to change the rules.
See this show for the strong performances. Get there early to have a drink in the first-floor Lounge.
Orphans runs thru October 4, 2026 at Liberty Exhibition Hall, Northside, 3938 Spring Grove Avenue, Cincinnati, OH 45223 Get tickets HERE or at the door.
