Movies

Inside the Twisted Mind of a Killer: Manhunt Play Review

BBG News

Manhunt (Royal Court, London)

Verdict: Born to run

A person, resembling a trapped bear in a cage, is shown on the screen. His bald head gleams, as polished as quicksilver, and seems equally unyielding.

For the upcoming 95 gripping, nerve-wracking minutes, playwright Robert Icke (recently acclaimed for his remarkable take on Oedipus) delves into the disordered thoughts and emotions of the killer, Raoul Moat.

You may remember that famous manhunt in the summer of 2010. 

In the heat of my uncontrollable obsession, I, a man driven to extremes, fled into the wild Northumbrian hills after a series of tragic events. My actions led to the wounding of an ex-lover, the taking of another’s life, and the blinding of an officer. As the situation escalated, a standoff with armed police ensued, culminating in a moment of despair where I took my own life.

Samuel Edward-Cook is absolutely captivating in his portrayal of Newcastle-born character Moat. His intense gaze holds ours, while beads of sweat and tears glisten on his face.

Filled with intense rage, he’s an overwhelmingly imposing figure. His fearfulness and self-sorrow only add to this impression.

OR

Brimming with fury, he cuts a towering, intimidating presence. It’s even more unsettling because of his paranoia and self-pity.

These sentences convey the same meaning while aiming for clarity and natural flow of language.

Overwhelmed by a deep-rooted feeling of being wronged, he speaks chilling words that echo: “I feel no emotion. I am merely a lifeless mass with no spirit within.

His words were primarily original, drawn from interviews, court cases, and his inquiry. Few had ever heard them before, unfortunately, only after the critical moment had passed.

In my own words, I’d say: “Despite all odds being stacked against me, I found a way to rise above my circumstances. As a child who was both abused and abandoned, with a mother struggling with bipolar disorder who even destroyed my beloved toys, I felt like the little boy lost within myself. Yet, I didn’t let that define me. I transformed myself into a tree surgeon, and later, a bouncer – roles that allowed me to build a strong physical presence to shield the child still dwelling inside.

He boasts that his children represent his most significant accomplishment, yet two of them ended up in foster care, and he served time in prison for physically abusing the daughter he professes to love deeply.

He claims to be innocent, yet his violent actions towards Sally Messham (played exceptionally well by her), such as throwing her across a room, hint at a deep-seated cruelty that’s hard to control. Is he a monster, a victim, or perhaps a bit of both? Icke remains ambiguous about it.

Certain sequences possess a dream-like or psychedelic atmosphere. In absolute darkness, policeman David Rathband, who had lost his sight due to Moat’s shotgun attack, admitted that being victimized, initially by Moat and later by tabloid invasions, drove him away from his normal path.

In an alternate scenario, Moat visualizes a compassionate, high-spirited Gazza (brilliantly played by Trevor Fox) confiding to him that they both are small, vulnerable souls hidden within strong bodies, questioning if anyone truly cares for them and reacting with hostility.

Both are captivating incidents, and although Gazza attempted to assist during the confrontation, the police declined his presence.

As a devoted admirer, I must say that while they shift the spotlight away from Moat to some extent, transforming it into more of a dramatic portrayal of contemporary concerns, particularly toxic masculinity, it remains captivating and thought-provoking.

Until May 3.

 

Thanks For Having Me (Riverside Studios, London)

Verdict: It was my pleasure

After successful stints at smaller theaters, Keelan Kember’s quick-paced, humorous dating play seems to lose some of its impact when transferred to the spacious Riverside Studios, giving off an impression that it’s more like a TV show playing in the distance.

In a simpler and more conversational manner, This sitcom, combining elements of Men Behaving Badly and Friends, could be even more successful if properly executed.

Skilled actor Kember brings laughter as Cashel, a character near thirty, who is posh, anxiety-ridden, overly concerned about his health (allergic to many things), and self-absorbed in love.

After finding myself unexpectedly single after years with my one true love, I turned to my laid-back, resilient best friend Honey – portrayed by the charming Kedar Williams-Stirling from Sex Education – for guidance on navigating the dating scene once more.

The game’s rules are straightforward: Make yourself intriguing (as a musician over an accountant), discuss vacations, convince her to come back to your place, and propose no intimacy on the initial date to create a challenge, and play Amy Winehouse’s music to demonstrate your emotional depth.

Enjoy, then move swiftly on to the next one. 

Piece of cake. 

In a turn of events, Cashel finds himself meeting Eloise, a therapist with a readiness for action, who is introduced by Honey’s present love interest, Maya (Adeyinka Akinrinade). This friend of Maya happens to be played by Nell Tiger Free, known for her role in Game of Thrones.

Trouble is, Cashel falls instantly in love with the leggy blonde. 

He wants an intense, exclusive, old-fashioned relationship — hopefully forever — with said cake. 

Instead of being tied down or committed, adventurous Eloise prefers keeping her relationships relaxed: no formal farewells, no shared meals, just a quick exchange, a casual goodbye, and a potential future encounter. Essentially, she doesn’t wish to be perceived as a prize in someone else’s possession.

She wants to be as free as a man.

Of course, it’s clear that the characters change their emotional dynamics, transforming one strand of a romantic comedy into a love story.

In a more engaging manner, the male characters are exceptionally well-developed and funnier compared to the less detailed female ones. However, Kember masterfully navigates the complex emotional journey depicted in the storyline, from casual relationships to budding connections, temporary bonds, all the way to the commitment of marriage.

Light, bright date-night fun.

Until April 26.

 

The House Party (Touring)

Verdict: A contemporary classic

Tonight is Julie, the well-off teenager’s, 18th birthday party. She had switched from a form-fitting mini dress to a loose T-shirt earlier, and along with her less-elite friend Christine, they are all set for Instagram, sipping shots in Julie’s luxurious family home.

The big cat is away and these mice are ready to get this party started.

Laura Lomas’s modernized version of Strindberg’s 1887 masterpiece on class, gender, and power delves deeper than prior interpretations, offering a strikingly realistic portrayal.

Ineffective mothers can shape their children just as much as Strindberg’s inconsistent fathers do; and social media wields a substantial, unsettling influence in damaging relationships and ruining lives.

Synnove Karlsen (playing Miss Austen, Medici) delivers an exceptional portrayal of the flighty and privileged character Julie. Her mother tragically took her own life, her father is involved with a woman who’s 24 years younger than him, and her boyfriend ended their relationship after discovering a compromising photograph of Julie online.

She’s in a bad place, made worse by tequila.

Additionally, she harbors a fondness for Jon, who is the son of the long-time housekeeper. While he is currently Christine’s partner, it is worth noting that he has always held a special place in Julie’s affections.

It’s an unlovely, uneven triangle.

Julie is used to getting her own way and careless of collateral damage.

If everything goes smoothly during her Cambridge University interview tomorrow, the thoughtful and caring Christine (Sesley Hope from Bridgerton) will have an opportunity to improve her circumstances significantly.

In simpler terms, the character Tom Lewis from Gentleman Jack, who seems overwhelmed, will take her there. Later, Julie gets Tom to drink and dance, leading to a chaotic situation.

Holly Race Roughan’s polished production is characterized by its intensity, volume, speed, and exceptional acting, notably from the partygoers dancing enthusiastically on an island-sized dance floor that serves as a kitchen.

Ten years after the fateful night, Lomas offers a surprising new perspective on the possible outcomes that could have transpired.

Christine’s compact kitchen sits atop an island, demonstrating how individuals can seize control of their personal story and find happiness in nurturing roles.

Not Strindberg, but a potent play for today.

At Bristol Old Vic until May 3, then the Belgrade Theatre in Coventry.

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2025-04-11 02:52

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