Harry (the excellent Mark Addy) is a no-nonsense, 25-year veteran hangman unacquainted with compassion. Being perpetually corrected as to the grammatical use of “hanged” and “hung” by timid assistant Syd (Reece Shearsmith) does nothing to further his patience. Whether or not the prisoner (Gilles Geary, a believably desperate Hennessy) is guilty is not Harry’s concern. (There are hints of injustice.) Yes, you see a hanging, but unlike many of McDonagh’s plays, death is bloodless and quick. What’s for dinner?
Billy Carter, Richard Hollis, John Horton, Johnny Flynn (seated), and Owen Campbell
Having gained community reputation as a man of importance, Harry retires, and with wife Alice (a solid Sally Rogers) and sullen, shy, patently naïve daughter Shirley (Gaby French – brava second act speech) runs the kind of British pub where locals get their social life. For Charlie (Bill Carter), Bill (Richard Hollis), Arthur (the always credible John Horton), and police commissioner Fry (David Lansbury), the place is a second home. Conversation is basic, low key, often wry (to us).
Two years later, England abolishes hanging. Clegg (Owen Campbell) a young reporter on the village newspaper, interviews the indiscreet Harry on what circumstantially turns out to be the anniversary of Hennessy’s death. That same day, a cocky, visiting Londoner named Mooney (Johnny Flynn) sets in motion inexorable events that will wreck status quo. The stranger couldn’t be more menacing if he carried an exposed weapon dripping blood. Slick amiability does nothing to mask innuendo. As a boy, Mooney undoubtedly enjoyed ripping the wings off flies…in front of friends.
Johnny Flynn and Gaby French
Skillful misdirection plays on cowardice, self-absorption, malevolence, vengeance, and innocence…which is to say, you won’t see the playwright’s practiced hand as it repeatedly disappears metaphoric coins or manifests rabbits. Your head may in fact swivel with surprise.
One of the most entertaining and well crafted of McDonagh’s plays, Hangmen is an ensemble piece. Director Matthew Dunster sees to it that every actor has distinctive personality affecting attitude and bearing. (Only the Inspector feels underdeveloped.) Aesthetic use of space, small business, and character focus keeps the full stage natural. Timing couldn’t be better for inducing tension and surprise. Black comedy is insidious.
Reece Shearsmith and Mark Addy
Reece Shearsmith (Syd) vibrates with infuriated frustration and fear. From his short appearance at the start of the piece to increasing participation, we experience what he feels.
Johnny Flynn (Mooney) makes one’s skin crawl. This outstanding performance is seamlessly, viscerally nasty. Each expression and pause, every ordinary gesture holds as much potential danger as thrillingly horrible outbursts.
Mark Addy and Sally Rogers
Sets are flat out terrific. Designer Anna Fleische creates a bleak, brilliantly scaled prison and well detailed pub that seem so substantial, transition (and its engineering) is a marvel. Having to unlock a double set of pub doors is splendidly utilized to dramatic effect as is the tightly spiraled back stairway. Thick, frosted glass and Queen Anne windows offer a feeling of tradition and longevity. Fleishe is also credited with Costumes which are pitch perfect. Watch for Alice’s change of clothing in anticipation of interviewing Mooney.
Joshua Carr’s Lighting Design is symbiotic. When the stage goes black at the end of each scene, we hear what seems like a metal prison door – redolent and unnerving. Sound Designer Ian Dickinson for Autograph also collaborates with Carr to conjure realistic storms.
Featuring Maxwell Caulfield as Albert, a rival pub owner and former hangman.
Photos by Ahron R. Foster
Opening: Mark Addy and Johnny Flynn
Atlantic Theater Company presents
The Royal Court Theatre production of
Hangmen by Martin McDonagh
Directed by Matthew Dunster
Linda Gross Theater
336 West 20th Street
Through March 25, 2018