Hanging was a contemplative chin-stroker of a play, and an enjoyable one at that! With rapidly changing scenes and shifting dynamics between the characters, the audience were provided with much to think about. Run-time was labelled at 1h but slightly overran to 1hr20m. It is unclear why this happened, but it felt like the perfect length of time for the play.
Theatre Experience ššš
The Whiskey Jar in Manchesterās Northern Quarter had a wonderful, very āfringe-theatreā atmosphere. The bar was fantastic (my G&T was awesome) and acted as the waiting area before the show. The actual theatre space was downstairs in the cellar (I didnāt note any lifts, just a tight stairway). The temperature was perfect, the low ceiling with exposed pipes and pillars felt edgy and exciting.
The seats were less comfortable but had been provided by the bar and werenāt meant to host an audience. The flat floor meant that a view of the action wasnāt always possible (but the company had done their best to combat this with bar stools at the back of the seated area). On each chair was an A4 piece of paper summarising the plot and explaining the characters ā much appreciated!
Copyright: Tangled Theatre
Plot ššš
M. W. Biasioliās tragicomedy Hanging was a little confusing but makes more sense in context. It can either be understood as reality ā what is happening on stage is really happening ā or it is the main character, Manās, worst nightmares and projections.
The clever balance between the charactersā power over each other left me wondering where the blame for bad behaviour comes from in families. Each character was clearly affected by the negative behaviour of those around them in different ways. Who, in a family, should be supporting who?
I felt comfortable interpreting the play as being Manās worst nightmaresā¦ his deepest fears accumulating in a series of bad memories and nightmares showing pill-popping obsessions, his fatherās abuse, his grandfatherās demise and his wife leaving him for his hated father. The powerlessness of an execution where nobody will take you seriously, where you are surrounded by fools and jokers, was horrifying.
This play raises many excellent questions and provides a place for deep thought on familial relationships.
Cast ššš
This young cast had a lot of great energy. Manās father, Rory Greenwood, (doubling up as the mysterious, anonymous āConvictā) was probably the most impressive cast member. His fearlessness in expressing extreme emotions on stage was beyond his years.
Man, played by Brandon Mccaffrey, was a very relatable character. Your average human trying to remain reasonable and affable in difficult situations, whilst also trying to survive. Brandonās vulnerability on stage was bravely exposed.
1st Executioner, Jasmine Oates, channelled the numb-to-life 50-something year old who revealed slightly sadistic, devilish tendencies in encouraging the mad behaviour of those around her. 2nd Executioner (doubling up as Grandad), Lee Martyn, provided the needed comedic relief and had witty lines. Wife, Agnes Houghton-Boyle, managed to walk the line between icily independent and vulnerable cleverly.
Copyright: Tangled Theatre
Staging šš
The atmospheric theatre space had rope nooses hung around the ceiling like macabre fairy lights. An otherwise minimal black stage left me more convinced that the play was taking place in the mind of Man.
The lighting was good, scene changes often take place after Man says āDisengageā and a colour lights up on the stage. I will omit the music/sound rating section as there werenāt any in the production.
Various props such as pill bottles and weapons were used sparsely with real purpose. The costumes definitely belonged to fringe theatre but had thought behind them. I did feel there could have been more use of stage make-up and hair. The cast were very young and this age could have been better disguised.
The Theatre Bee š
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