After a string of award winning stage plays (After the End, Osama the Hero, and Love and Money) as well as a successful BBC 3 comedy series, Pulling, Dennis Kelly draws together his dual writing talent in this world premiere of Orphans which follows his recurring theme of truth and justice cut through with biting black humour.
The romantic lyrics of My Funny Valentine, play softly at the start of scene 1, as Danny and Helen sit at their dining table, sipping wine over a candlelit meal. This is a well furnished, middle-class home, designer green leaf wallpaper on which hang happy smiling family photographs.
Suddenly the quiet domestic scene is disturbed by the arrival of an unexpected visitor. But this is no stranger, it's Liam, Helen's rather hyper, though apparently harmless younger brother. He stands there in a bloodstained T shirt while the couple are speechless at this shocking sight. Liam acts as if nothing is wrong, smiling, making polite, trivial conversation, "Nice dress - is it new?".
Slowly, the grim scenario behind the bloody shirt - an encounter with a street fight stab victim with Liam acting as good citizen - is revealed. Or is it? Helen knows her brother and past troubles and so the interrogation begins to eke out the truth of what happened. Kelly's language is sharp as a needle, authentic dialogue spoken in half sentences, disjointed lines of thought where words left unsaid speak volumes.
Around the dining table, the three of them enter a heated, heartfelt debate about family loyalty, morality, racial prejudice, love, marriage - as each in turn switches allegiance, (husband and wife, sister and brother) back and forward.
Roxana Silbert's precise direction is pure choreography with subtle moves - Helen and Liam stand beneath their childhood photograph, in similar pose, as they attack Danny's conservative point of view; Liam stands over Danny holding his arm, as if pleading for support, forever apologising for his behaviour, but with a threatening manner. This brooding ambiguity of characters' motives and actions drives the plot into an intense sadistic thriller which will keep you on the edge of your seat.
Cool, crisp acting, pace, chilling music, sound and lighting all add to its film noir mood. Think Dexter meets Pinter and you might get a sense of this unnerving social commentary of our British city jungle today.
Times: 9-30 August. Different times daily. See Fringe brochure.