Hangmen

Once again, Red Phoenix have opted to challenge ‘usual’ and ‘predictably mainstream’ theatre in bringing Hangmen to Adelaide audiences. Stimulated by serious miscarriages of justice in the UK, English film maker and playwright Martin McDonagh has made a departure from his usual style and subject in comedy thriller Hangmen. He is a writer and director, known for works including In Bruges,  Seven Psychopaths, and Three Billboards Outside Ebbing, Missouri. In discussing the play, brutal though it may be, McDonagh describes how each of the hangmen, on whom this play is based, have rightly or wrongly ‘killed’ over 200 people each. It took three attempts, including a COVID shutdown to get this play to Broadway in 2022 where his dark humour interwoven with absurd humour, made it a hit. Acknowledging the influence of writers like Pinter, 'I’ve always wanted to put something a little exciting on stage', and exciting and unpredictable and macabre through the lens of black humour, describes the play well.

McDonagh has focussed on being neither, ‘preachy’ or sentimental, but strikes a chilling chord when one of the main characters seems very much like a person that he has recently hanged. The performance areas of the set have to be ‘real’ for the play to work, and as designer, Nick Fagan has achieved this, particularly with the confronting opening scene. The overall set is functional and works well and whilst not cosy, has the English pub feel. Attention to actor placement would make climactic scenes more visible and relatable for the whole audience.

Harry Wade, acknowledged as the second-best hangman in England is affronted by this ranking and a chilling reminder is the ready tied noose, casually adorning the bar in his small pub in Oldham, where Harry is something of a local celebrity.   Literally hanging on his every word, the locals are reminded by him that, “I'm just as good as bloody Pierrepoint.” Brant Eustice brings his often seen dangerously manic persona, tipped over quickly into blind rage and ruthless control to the role of Harry Wade. As his wife, Alice, with an impeccably lacquered beehive hairdo, by Anne-Louise Smith, resorts to chain smoking and non-stop topping up of strong neat booze that allows her to cope with Harry. As daughter, Shirley, Finty Mc Bain comes into her own in the shorter second half with pithy acting and dialogue. Joshua Coldwell is neck in neck (pun intended), with Eustice for disturbed, manic behaviour. He is a past master at being dangerously unhinged.

Fagan has paid assiduous detail to the Lancashire accents which for me, were unintelligible and jarringly loud from some actors in some scenes. Coldwell’s accent and delivery ensured that he was always well heard. The accents are, however important as people from this formerly coal mining and mill town were tough, hardworking people.

Costumes and hair evoke the feeling of the times but strangely, a couple of actors have hair and clothing that despite careful attention to most elements, are inaccurate for the era. Richard Parkhill’s lighting ensures that everything can be seen and key scenes are well highlighted with personalised lighting. Sound and music operated and co-designed by Sean Smith and Fagan shows immaculate detail down to bells tinkling on unseen doors for entry and exits.

Running at 150 minutes, the play, at times, is gruelling with a 90-minute first act. It is often said that there are no small parts and this play is evidence of this. Curmudgeonly Greg Janzow, reporter Tom Tassone, lynchpin Jack Robins, timid Steve Marvaneck, and terrifying Gary George have memorable roles where the acting, not just speaking featured. Impressive too was the work of Trevor Anderson whose possibly pointless, piteous death sparked Mc Donagh to tackle a social issue.

Hangmen is challenging, wry and different, and features a number of memorable performances worth seeing.

Jude Hines