[Theatre ~ SA]
The Studio at Holden Street Theatres – Wed Oct 30
Local theatre company Red Phoenix have a hit on their hands with their current production of Hangmen. Written in 2015 by acclaimed writer Martin McDonagh – if you have seen his films In Bruges or The Banshees of Inisherin you will get an idea of the type of moral complexities and character developments he employs to get his audience thinking – this is powerful writing drenched in black humour and moral conundrums.
Set in Lancashire in the mid 1960’s the plot centres around the UK’s “second best” hangman Harry Wade – who knew rivalry between hangmen was a thing? With hanging being abolished Harry no longer has the sanctioned power of life and death over others. Now running a pub with his wife, Harry is an overbearing blustering bully, lording it over his clientele and his family. His pride in his former job is clear from the noose on display behind the bar as a decoration.
The play opens with a powerful but thankfully not too graphic prologue which shows Harry’s last execution. The prisoner claims his innocence but Harry proceeds to carry out the court’s orders without hesitation. It is not his job to question the court’s decision, but to carry out their sentence with dignity and competence. We do however sense that there is an underlying satisfaction and relish in carrying out such a “duty”.
To reinforce the era in which the play is set, a carefully curated 60’s soundtrack featuring the likes of The Rolling Stones, Petula Clark and The Kinks avoids nostalgia but clearly gives us a sense that times were changing.
Two years after the death penalty is abolished Harry is being interviewed by a local journalist. Harry proudly boasts that he has always kept his own counsel and will never talk about his old job. But his vanity means he is no match for someone offering a chance to amplify his achievements. The “best” hangman Albert Pierrepoint, who makes an appearance in the second act, was after all only famous because he was sent to Germany to hang Nazis after WWII.
A brash Londoner Mooney enters the pub and soon his manipulations and undercurrent of menace puts everything at odds. After the publican’s teenage daughter disappears the next day things crumble and will never be the same again for everyone in that pub.
Across the board the acting tonight is excellent. Noteworthy performances are especially given by Brant Eustice capturing all the boorishness of Harry, Rachel Dalton as his long-suffering wife Alice, and Finty McBain who undergoes a transformation from a shy and pouty teenager languishing under her father’s labels and taunts to a confident young woman starting to make her own life choices. Joshua Coldwell as Mooney keeps us guessing about the true nature of the visitor from down south. Jack Robins as the former Assistant Hangman ably transforms from ridiculed colleague to self serving survivor.
This is a dialogue driven play with 12 characters who successfully master thick Lancashire accents. This may at times make it difficult for the audience to understand every word being said, but McDonagh uses clever techniques to get around this, such as having a deaf bar drinker for whom things must be repeated. If you missed it first time… The plotting is tight and there are a number of unanticipated twists which shift the power dynamics. It is to director Nick Fagan’s credit that he makes this all look seamless. Nick Fagan’s set designs – yes he took on both roles – is simple but effective.
This play raises eternal questions about justice, guilt and the corruptive nature of power, and so is not simply a period piece. There are absurdist elements but this adds to the tension. Not everything needs to be resolved or explained. McDonagh’s edgy, biting storytelling is realised by all at Red Phoenix and reinforces the quality of theatre available to us here. Go and support it – you’ll be rewarded in spades.
5 Stars
Cathy Tune
Hangmen continues at Holden Street Theatres at various times until Sat Nov 2nd. Click HERE to purchase your tickets.
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The Clothesline Rating...
Catherine Tune
Edgy, biting storytelling performed with panache.
