Theatre
Orphans (Hampstead) The Threepenny Opera (National: Olivier)
Yes, but
Christopher Edwards
This new play by the American author Lyle Kessler falls decidedly into the 'yes, but' category of theatre. The more you start coldly to analyse the play the more damning the flaws seem to be. It is a sentimental and in the end melodramatic work. And yet you want to recognise that, at least in the theatre itself, your feelings, and certainly your admiration, were ex- cited by the skill and commitment of the three excellent actors. There are moments of real theatrical power in this production although they are located principally in the first act.
The play is set in a dilapidated house occupied by two orphaned adolescents: Philip (Kevin Anderson) and Treat (Jeff Fahey). Philip is docile, retarded and agoraphobic. In moments of stress he hides himself amongst the coats and dresses hanging in their deceased mother's ward- robe. His brother, Treat, is a vicious mugger who stalks the streets of north Philadelphia knifing victims who appear reluctant to part with their possessions. The boys' housekeeping comes from the proceeds of Treat's thieving.
Although we only learn this later on, the reason why Philip dares not venture out- side is because his brother has convinced him that the polluted air will poison him. Philip is also convinced that the only reason why he is not in an institution is because Treat bit the social worker who came to take him away after their mother died. Under Treat's selfish and less than balanced instruction Philip remains in awe of his brother and terrified of the outside world. Both boys are trapped by their past. Both are cases of 'arrested development'. There are threads here of familiar themes: emotional blocks, guilt, the suppressed memories of a family history too painful to confront. In other more distinguished hands these threads have helped make the fabric of an American dramatic tradition — one thinks of O'Neill and Sam Shep- ard. In Kessler's play these themes are evident but not developed in a coherent or particularly interesting way.
But the first act is full of unexpected twists. Treat brings home a blind drunk businessman called Harold (Albert Fin- ney). Treat's intention is to kidnap Harold and claim a ransom from his underworld friends. It turns out that Harold's 'friends' would love to see him killed. Treat returns home to discover his victim at liberty and striking up a friendship with Philip. Harold offers Treat a job as his bodyguard explain- ing that he himself was an orphan and that Treat, with a little discipline could turn his aggression to advantage. Fleetingly, there is the hint that Harold may have had sexual designs on the handsome Treat, but it soon becomes apparent that Harold, who is on the run from Chicago mobsters, is genuine- ly eager to do some good while he stays. He gives bOth boys loving paternal en- couragement and money.
Finney's portrayal of Harold is very accomplished, in fact it is one of the best performances I have seen him give in the theatre. It is a gentle, self-effacing and ironic piece of acting that succeeds in convincing you that the gangster with a heart of gold is the genuine article. The other two, American, actors are also abso- lutely first class. In view of the small scale of this theatre perhaps Jeff Fahey would be better advised to lower the register of Treat's uncontrollable violence. The effect, while sometimes startling, is also melodramatic and there is quite enough unavoidable melodrama lurking for us at the end of the play. Both actors create a powerful sense of human kind descending to an animal level, in particular Kevin Anderson whose athletic agility enables him to mimic the movements of birds and monkeys as he flits about the furniture. It is as if he were inside a cage.
The second act is disappointingly formu- laic. Harold, installed in the house, frees Philip from his frozen emotional state by providing him with confidence and a map of Philadelphia. Thus equipped he goes out alone and realises that his brother has misrepresented the world to him. Treat is a harder case for Harold to crack and the degree of success he achieves is only glimpsed in the closing, highly melodrama- tic, tableau. In the interests of suspense the ending I suppose, ought to remain a secret although audiences will be drawn to this production less by its denouement than by the consistently high level of acting to be seen at the Hampstead theatre.
There is little space and less inclination to discuss this revival of Brecht/Weill's The Threepenny Opera. I usually find Brecht's kind of learning-theatre' very patronising, his irony leaden and his jokes deadly. I was not converted by Robert David Mac- donald's admittedly lively new translation, nor did the rag-bag cast of actors, led by Tim Curry, succeed in focusing the action on this oceanic stage. The buzz at the `He's on speed.' interval bar seemed to be about right: `Can't concentrate. Seems a bit tame to me. . _Some of Weill's songs are worth waiting for. What time does it end?'
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