'Hangmen' Wyndhams Theatre *****

Hanging was seen as a public event, but when hanging was kept off the record and prison officers and management executed the miscreants in such a barbarous manner without prior confirmation, what would transpire if an innocent man was hanged without a professional investigation? The West End transfer of Martin McDonagh’s play, ‘Hangmen’ which sold out in its run at the Royal Court was an unparalleled marvel of show, not to mention, the depictions were transcendently stunning.   

‘Hangmen’ is located in a small Oldham pub where we are familiarised with pub landlord, Harry who was infamous as the second-best hangman in England. The reason why he became a pub landlord was due to the fact that he and his colleagues wrongly hanged an innocent man by the name of, Hennessy (Josef Davies) for a crime he didn’t commit. Two years later, he along with his wife, Alice and daughter, Shirley (Bronwyn James) have adjusted to their new lives with an array of devoted locals such as; Bill (Tony Hirst), Arthur (Simon Rouse) and Charlie (Ryan Pope)who appear to spend their time sipping beer and chomping on peanuts at the same time, seven days a week.  They are informed that there is a serial killer on the loose and Harry’s former assistant, Syd (Andy Newman) explains that the serial killer is the same man who they were supposed to have hanged two years ago. When peculiar and youthful male, Peter Mooney arrives on the scene, people become suspicious of his presence, on the contrary, Harry’s daughter, Shirley seems drawn to him and as he gives her some level of affection, which she rarely receives. This gives Peter the perfect opportunity to manipulate her without her knowing this in such a cunning manner and as the days plod on by where Peter has become a regular of the pub and when he and Shirley are left on their own he invites her to go to the beach.  Alice is obviously concerned that he could be using her daughter just to have his wicked way with her. When Shirley doesn’t come home Harry and Alice are really worried and as Peter took Shirley to the beach, he becomes the foremost suspect and over the course of the performance, they are informed that their daughter has been murdered in a garage which is right by the seaside. Understandably, Harry is incensed and is sought out to cause Peter an immense amount of pain and when Peter returns to the pub in the hope of renting a room in the flat upstairs he is perplexed by Alice’s defensiveness.  Harry, when he sets his sights on Peter, he goes ballistic and with the help of Syd and the pub’s locals, they kill Peter or so they think but when Inspector Fry (Craig Parkinson) and Albert Pierrepoint (John Hodgkinson) are inspecting the local area, they are none the wiser that Mooney is currently hanging behind a closed curtain in an area of the pub, Unfortunately, Pierrepoint removes a chair that Peter is standing on and he is coldly murdered and at the finale, it is known that they have found the serial killer and it was not Peter, so it seems that they have exterminated the wrong man, once again for Harry and Syd.  McDonagh’s narrative is stupendous as this black comedy combines both the obvious humour with the serious moments as the story about the abolition of hanging and how those involved in it have to re-acclimatise to the  circumstance and with a serial killer about, could they find him and be forgiven? 

One found the performances by the company of, ‘Hangmen’ to be amazing as the camaraderie of the actors were terrific, as well as, their vocal projection travelled right through the entire auditorium without any fluffed lines and the choreographed fight sequences  were astonishing. David Morrissey is marvellous as central protagonist, Harry; expressly how he seems somewhat unable to modify his life in which in order to earn a living he has had to re-train and manage a business which is polar opposite to his previous occupation as the country’s second-best hangmen so it must be difficult. Johnny Flynn is hilariously chilling as freakish, Peter Mooney; principally how he can make a group of people in a pub immediately turn around to look at him which means he is unwanted or unwelcome as he is not a regular, furthermore, his facial expressions in some aspects  were particularly unnerving which was brilliant to see. Sally Rogers is glorious as Harry’s wife, Alice; mainly how a like she is to the stereotypical landladies you would find in soap operas i.e. Bet Lynch, Angie Watts, Peggy Mitchell and Chastity Dingle, in addition, the devotion she has to her husband was quite pleasant to see. 

Matthew Dunster’s direction is awe-inspiring here as he has been able to shape a production that centres around the black humour that has been missing in theatrical art for some time, moreover, the show really captures the bleak and distressing atmosphere of a serial killer that is on the loose and the end of hanging and people’s jobs are at risk. Anna Fleischle’s set and costume designs are magnificently charming as the set of a prison interrogation room which then rises up like hanging is about to rise to a heavenly place to a typical Victorian pub in seconds shows how rousing her set is, what is more, the scenic construction and scenic art is impressive. Overall, the experience of, ‘Hangmen’ was an outstanding new play with a sort of re-invigoration of dark comic plays to today’s audiences.

'Waste' National Theatre, Lyttelton ****

A hung parliament in any notion can ascertain a significant level of problems as some actions could be quite tricky for its people to distinguish which ideas belong to which party, in addition to this, how controversial bills can be agreed to be materialised by the MP’s and to King/Queen him/herself? The National Theatre’s production of Harley Granville Barker’s 1920’s notoriously banned play, ‘Waste’ enables us to explore the backstage events of the inception of orders within two parties, and furthermore the performances were gleaming throughout.

‘Waste’ is set in London and the outskirts of London where we are acquainted with Independent MP, Henry Trebell who is at present proposing an arrangement with the Tories to enable a bill where he hopes to extinguish the Church from the State and to convert the building into new schools. However, there could be problems as Henry has had an affair with a married woman by the name of Amy O’Connell who is now pregnant with his child after they met at the house of Lady Julia Farrant (Lucy Robinson) whose guests included the doddery Lady Mortimer (Doreen Mantle). Amy’s husband, Jamie O’Connell (Paul Harley) a Fenian activist who is just been interned by the incoming Prime Minister informs that his wife has died due to the fact that she has had a butchered “criminal” abortion and states that the baby was not his. As you’d envisage from this, Henry’s plans are beginning to unravel as this would cause immeasurable controversy at the affair could be exposed by the British Press, as such; a meeting is set to discuss this by those who Henry is trying to convince to side with him on this bill. This included Cryril Horsham (Michael Elwyn), Sir Gilbert Wedgecroft (Andrew Havill), Russell Blackborough (Louis Hilyer), Lord Charles Cantiilupe (Gerrard McArthur) and Jamie O’Connell. They are concerned that if they collaborate with Henry and if the situation of the affair with Amy O’Connell is written about in the paper, then their careers could be ruined, so a lengthy meeting goes on. The outcome is not what Henry wants because there is a unanimous “no” vote to work alongside him and Henry knows his career is finished before it has really started. Moreover, as he hasn’t slept that whole night he becomes increasingly depressed. Over the course of this period, Henry’s sister, Frances Trebell endeavours to help her brother through this. On the other hand, it appears that Henry cannot move on from this and when he goes to his bedroom, he shuts the door, locks it and commits suicide as he must have been in such pain and sorrow. At the finale, Henry’s secretary and assistant, Walter Kent (Hubert Burton) is exceedingly emotional where he cries at his desk as he saw Henry as a male role model,  with this, he and Frances switch off the lights in a bleak and gloomy empty office and consider if Henry’s legacy will ever be noticed or not. Granville Barker’s narrative is educationally energizing as we are trying to figure out whether Henry could be forgiven for his appalling behaviour and how politician’s personal lives are not exactly private and that they should think of this before they do things.

One found the performances by the company of, ‘Waste’ to be stimulating as there is an effortless amount of clear vocal delivery and sensible movements by the whole company. I’d also like to commend Wendy Spon’s casting as the actors seemed to fit the roles with such tenacity. Charles Edwards is wonderful as disgraced Independent MP, Henry Trebell; especially how his vision for the eradication of the Church of England falters because of his affair with a married woman and getting her pregnant ultimately leads to his demise. Sylvestra Le Touzel is swell as Henry’s sister, Frances; specially to role she plays on her brother’s life in which it is quite strong and as she strenuously tries to prevent her brother from hurting himself you can see that it’s going to be a difficult task, furthermore, this relationship is moving from to start to finish. Olivia Williams is pleasing as Henry’s conquest, Amy O’Connell; chiefly when she is sat in Henry’s office crying as she knows what having a baby out of wed-lock at this time was understood as deplorable and worse of all, having a child in an affair scenario was regarded as sickening and barbaric. 

Roger Mitchell’s direction is peachy here as he has conveyed a production that focusses on how we as individuals should remember on our responsibility as professionals and that your personal life can immediately destroy your career as it has done with Henry Trebell, plus, the characterisations were extremely polished. Hildergard Bechtler’s design are interesting as the magnitude of the simplicity of locations for example a stately country house to an office/home of a politician captures the troublesome aspects of Henry’s career departure,  as well as, the scenic construction really connects with the dark lighting design by Rick Fisher with panache. Overall, the experience of, Waste’ was a grand one as we can see how theatre censorship and the role of the Lord Chamberlain affected theatre until its untimely death in 1968.

'No Villain' Old Red Lion Theatre ****

Rediscovered pieces of dramatic art, either a play or musical is without any shadow of a doubt an exhilarating prospect especially if it’s a world premiere performance of a famous playwright’s first play. The Old Red Lion Theatre’s production of Arthur Miller’s very first play, ‘No Villain’ which was written in his sophomore year at college in 1936 was categorically a miraculous presentation of the illustrious writer’s first play, to boot; the representations were exceedingly heavenly throughout.

‘No Villain’ is set in New York City, 1936 where we’re introduced to the Simon family who’s apartment is really crowded and seem to be living on top of one another and are becoming poor due to the Great Depression. The father, Abe who owns a clothing business is facing a radical decline in trade, as well as, a strike is currently occurring which meant that distribution of his garments is almost impossible. His parenting style appears too magisterial where his son, Ben was forced to leave college and work for his father, paradoxically, Ben’s youngest brother, Arnold “Arnie” (Adam Harley) is at university studying writing who has become an admirer of Communism.  Arnie is about to return to his parent’s home which leads to his mother, Esther and sister, Maxine (Helen Coles) becoming slightly anxious as Abe doesn’t approve of Arnie’s life choices.  We see that Abe is desperate for Arnie to leave university and pursue a career in the family business, on the other hand, Ben is hell-bent determined to stop his father ruining his life just he had done so to his.  When Arnie arrives Esther and Maxine are thrilled to see him, however, as the apartment is overcrowded he has to sleep on the armchair in the living area.  At Abe’s shop, trade is immensely slow and Abe’s employee, Frank (Anton Gross) has to battle his way through the picket line and with racial prejudice’s ever present it’s a challenging time for all concerned. Over the course of the performance, the Simon family face an enormous of tests  as Grandpa Barnett (Kenneth Jay) is having serious health problems and with Abe’s frequent pressures when he declares that Grandpa Barnett has to contribute or he will have to leave causes Grandpa Barnett to suffer a mammoth stroke. In the period of a few visits, the Doc (Steven Omer) has to break the very sad news that Grandpa Barnett has died. The entire Simon family are left devastated. Abe demands to Arnie that he has to work at his shop or there may be severe consequences. At the finale, Ben’s emotions take its toll and he throws all the guests at the wake out of the apartment and informs Abe that he has been an awful father and that he was the cause of Grandpa Barnett’s death.  Miller’s narrative is shipshape as we’re given the impression that Abe’s ideas of what his two sons and daughter should be doing has caused the family a long time of pain and frustration, furthermore, this concept of the arduous father figure can be seen by those in other works i.e. ‘Death of a Salesman’ and ‘A View from The Bridge’. 

One found the performances by the company of, ‘No Villain’ to be spectacularly depicted though outstanding American accents and movements that was tremendously realistic. David Bromley is glowing as father, Abe; centrally when he is always facing trials and tribulations in both his personal and professional life, nonetheless, the his relationship with Ben and Arnie is fraught and this is due to his begrudging personality. Neba Grenshaw is magnifico as Abe’s wife, Esther; in particular where she is so please to have all her children back under one roof but this pleasure soon deteriorates as Abe is making the whole reunion to go beyond the pale and force their sons to pull away from the father and causes upset from her side.  George Turvey is lustrous as the Simon’s eldest son, Ben; fundamentally, how you can see that he doesn’t really like working at his father’s clothing business and this transpires to him to pluck up the courage to tell his father what his actions are doing to Arnie and himself and that he resents him for this. 

Sean Turner’s direction is resplendent here as he has brought to light a play that has finally been given a production that established many of Miller’s techniques that has been continually used in his work after this play. Moreover, he has captured the uneasy atmosphere that has been put to the fore from a difficult man who really does not know how to be with children who are moving on with their lives. Max Dorey’s set and costumes are ornate as with the intimate space of the Old Red Lion Theatre we feel as if we are intruding or being a voyeur delving into the struggles that the Simon family are experiencing. Also, the scenic art and construction is pretty good as it shows how money is a problem for this family now due to the Great Depression. Overall, the experience of, ‘No Villain’ was a really impressive and a total privilege to witness the first ever production of Arthur Miller’s first play.

'Hapgood' Hampstead Theatre ****

Espionage and the microcosm of spying is brimming full of traitors and double agents where deception is a big factor to that occupation where anyone is a pawn in their own game and with the woman progressing into the managerial roles, can a woman really succeed in a male dominated industry? The Hampstead Theatre’s current production of Tom Stoppard’s 1988 play, ‘Hapgood’ was a refreshing and thought-provoking performance about the spy environment where characters such as Judi Dench’s M in the James Bond franchise were not even considered, additionally, the executions were splendidly characterised.

‘Hapgood’ is set in 1988 where the Cold War is nearing its final curtain and we are habituated with British female spymaster, Elisabeth Hapgood where she is finding juggling her career with her role as a mother to a young boy. The play commences with a spoof imitation of a spy scenario as a conveyer belt of dubious people enter a male changing room at a swimming pool in which they swap attaché cases . Conspiracy theories are a foot when vital information has been sent to the Russians and defector; Joseph Kerner and Ridley (Gerald Kyd) are the prime suspects. Hapgood tries her level best to get Kerner removed as a suspect and when, Blair a high-ranking British intelligence meets Hapgood at St. Christopher’s School where she is watching her son, Joe (Sacha Gray/Adam Cansfield) playing rugby, yet, he still suspects Kerner is partly responsible.  He soon informs her that Ridley has been working for the KGB as a double-agent. Suspicion arrives when Wates (Gary Beadle) as he soon suspects that both Ridley and Hapgood as a transmitter found in one of the brief cases suddenly switches itself on in Hapgood’s office; as such he has Hapgood followed.  In addition to this, Hapgood and her fellow colleagues, Merryweather (Edward Hancock) and Maggs (Nick Blakeley) decide to set a trap for Ridley where she meets him at a shooting range. Moreover, Blair remains wary that the briefcase that Kerner was holding had a photo of Joe cleverly placed inside of it.  There is a reason for this as we are informed that Joe is in fact his son.  Joe is kidnapped because of Kerner’s defection and Hapgood’s somewhat meddling and a disk is precisely what the KGB want and when Ridley meets Hapgood’s twin sister, Mrs Newton at her photographic studio he states that she needs to become involved as her nephew is missing and when she knows of this information she says she’ll do her duty to help search for the disk. Over the course of the performance, we learn that equivocation is at the forefront of this industry as Mrs Newton is not real and is actually Hapgood herself and that Blair is behind Joe’s kidnapping so that it doesn’t land into the KGB’s hands.  At the finale with Ridley’s plan in tatters and in police custody, Hapgood and Kerner meet for one last time at their son’s rugby match and he says that he is going to be returning to Russia as his career in spying is over and it appears that the KBG already knew about him being Joe’s father. Stoppard’s narrative is inquisitive as you are constantly wondering what the disk actually contains and his decision to have a female head of secret service conveyed the importance of the progression of women moving into managerial positions.

One found the performances by the company of, ‘Hapgood’ to be wonderfully portrayed; for example how the other characters communicate with one another and the smaller roles such as The Russian (Joe Evans) helped this. Lisa Dillon is admirable as central protagonist, Elisabeth Hapgood; chiefly where her jobs as the head of the secret services and a mother really shows how her personal life is non-existent, nonetheless , the scenes with her son Joe and ex-lover, Kerner captures a different side of her.  Alec Newman is first-class as Russian defector, Joseph Kerner; expressly the moment when he comes into contact with his son for the first time and the slight upset you can see on his face as he realises that he has missed his opportunity of being a father which means he has no other purpose.  Tim McMullen is remarkable as high-ranking intelligence officer, Blair; first and foremost, how his frequent suspicion of Hapgood’s involvement with Kerner encapsulates that no one in the same workplace can physically have a private life and his involvement with Joe’s hostage is mean and cruel.

Howard Davies’ direction is exceptional here as he has been able to formulate a really captivating show about an organisation like the MI5 and MI6 and what cases that could be going on, furthermore, the interpretations from the entire company were well explained and with superb and amazing voice work and movement sequences.  Ashley Martin Davis’ set and costumes were fitting to the environment that the play is set around and with Ian William Galloway’s video designs and installation of 100 screens compresses the poignancy of technology in espionage and what is required to investigate villainous individuals. Overall, the experience of, ‘Hapgood’ was a bit like a theatrical interpretation of a James Bond story and as one likes James Bond films then this is probably why I liked the show.