National Theatre Live: Hangmen (2016)
10KNational Theatre Live: Hangmen (2016). 3h
“Know Martin McDonagh better as a director, through his films u0026#39;In Brugesu0026#39;, u0026#39;Seven Psychopathsu0026#39; and u0026#39;Three Billboards Outside Ebbing Missouriu0026#39;. Liked u0026#39;Seven Psychopathsu0026#39;, while having some serious reservations, and really liked and nearly loved the other two (again not considering either perfect). The most common flaw with all three being the u0026quot;run out of gasu0026quot; endings. All three though are exceptionally well made, written and cast. So there were high hopes.u003cbr/u003eu003cbr/u003eHigh hopes that werenu0026#39;t diminished. Anyone who liked or loved McDonaghu0026#39;s films will, or at least should, find a lot to like about u0026#39;Hangmenu0026#39; as a play, as all his trademark touches there in all three of the mentioned films are here. This National Theatre Live production is as good a way to get acquainted with it as one can get and it is a great production in its own right. Not among my favourite ever National Theatre Live screenings, but only because there are so many brilliant ones and picking favourites are hard.u003cbr/u003eu003cbr/u003eIn my opinion, the first half is better than the second half. The second half is still very good, itu0026#39;s still darkly funny and suspenseful and the structure is mostly very meticulous, but the latter stages start to run out of gas in momentum and the ending for my tastes is too convenient. Have found the endings to be the most common problem with McDonagh.u003cbr/u003eu003cbr/u003eAnd it is a shame, because the rest of u0026#39;Hangmenu0026#39; is wonderful. It starts with the single most chilling beginning of any National Theatre Live production and one of the most unsettling beginnings of any performance on stage, whether in cinema or live, in my opinion. Luckily such great promise continues all the way to the latter stages of the second half, with a dazzling display of dark rapid-fire wit, gritty and thrilling storytelling that explores a controversial subject with taste, moments of genuine unpredictability, dark truth, complex emotion, thought-provoking psychological elements and offbeat characters.u003cbr/u003eu003cbr/u003eThe performances are all eclectric, while David Morrissey gives a subtly intense and nuanced lead turn and Andy Nyman is both amusing and sensitive it is Johnny Flynnu0026#39;s menacing Mooney that steals the show.u003cbr/u003eu003cbr/u003eOther than the writing and cast, a big strength is the production values. The sets especially are gorgeously designed and deliciously dour, which suits the playu0026#39;s tone to perfection.u003cbr/u003eu003cbr/u003eSummarising, extremely good. 8/10”
