Fred Woodley Evans (Phillip), Chris Walley (Treat) and Forbes Masson (Harold) in Orphans [Charlie Flint]

AL Miller’s engaging, well-acted revival of Lyle Kessler’s 1983 play Orphans offers an edgy exploration of masculinity within a dysfunctional family shaped by the absence of women.

Set in a dilapidated-row house in north Philadelphia, 28-year-old Phillip (Fred Woodley Evans) hasn’t stepped outside in years. Convincingly childlike and naïve, he’s cared for by his older brother, Treat (Chris Walley), surviving on canned tuna, mayonnaise, and the escapism of television.

Treat, a volatile thug, brings home whatever he can steal, relying on his flick-knife and well-practised menace. He insists Phillip stays indoors, claiming he’s vulnerable to allergies – a fiction gradually revealed as a means of control.

One night, Treat drags home Harold (the excellent Forbes Masson), a drunken stranger with a briefcase full of bonds. He assumes he can hold Harold to ransom, but hasn’t reckoned with the older man’s cunning and connections. When Harold sobers up, the brothers quickly realise they’ve taken on more than they bargained for.

But Harold wins their trust by reminding them that they are all orphans and should stick together. He slips into a father-figure role, offering money, stability, and opportunities they find hard to refuse.

As the play evolves from domestic drama to small-time gangster thriller, there are shades of Pinter in the shifting power dynamics, carefully calibrated by the three actors.

Confined to a single room, Miller’s claustrophobic production makes effective use of Jermyn Street Theatre’s tiny space, supported by Sarah Beaton’s understated design.

Despite some uneven pacing, Orphans is tightly plotted and the performances bristle with energy.

Until January 24
jermynstreettheatre.co.uk