Adaptor: Kieran Lynn
Director: John Young
Martin Scorsese’s epic 2002 blockbuster movie ‘Gangs Of New York’ is far from an obvious choice for Storyhouse Chester’s annual open air theatre season. In recent years audiences have enjoyed several sparkling productions of more traditional fare, such as ‘A Midsummer Night’s Dream’, ‘Romeo & Juliet’, etc. With the Grosvenor Park location providing a generally convivial family atmosphere, eager punters devouring picnics of expensive cheese and red wine, and the individual shows usually crammed with panto style tomfoolery, shoe-horned-in contemporary pop songs, and a feverish madcap ‘anything goes’ style, surely adapting this most visceral and bloodthirsty gangster drama was a huge gamble?
Well, indeed it is, but Storyhouse have managed to pull it off. Yes, there’s the usual sensory overload of spirited musical numbers, and music hall style audience participation, including the regular breaking of the fourth wall with actors chasing each other through the audience, clambering over the legs of squealing punters, often snatching a drink from an unguarded bottle, or taking a glass out of an obliging audience member’s hand (it’s as if covid never happened!). But, and it’s a big but, these end of the pier shennanigans only just about manage to sit comfortably alongside some brutal and gut-wrenching fight scenes. and tense stand-offs. For those of a nervous disposition, you need to prepare yourself for some truly knuckle breaking, full-throated carnage!
Our protagonist is newly-arrived Irish immigrant John Morrissey (an amiable, and oft times feral Oisin Thompson), determined to make a life for himself in 19th century New York city, and succeed in the face of undiluted racism and rampant political corruption. The bustling, virtually lawless mean streets are awash with petty thieves and murderers, with the city barely held together by dirty money, under the counter favours, and old school bigotry. John finds a kindred spirit in the feisty and fiercely independent Maggie (a sparkly, enticing Hanora Kamen). She’s an expert pickpocket, who can more than hold her own in a fight, and an icy breaker of hearts.
John soon finds himself earning some much-needed cash in the murky, dog-eat-dog world of bare knuckle boxing. Cue some tasty, sweaty, half naked skirmishes featuring much spillage of the old claret. Morrissey beats his first opponent ‘Chuck Connors’ (Tom Benjamin), who just happens to be the champion of local gangster William ‘The Butcher’ Poole, and a deadly, murderous rivalry is born. James Sheldon has the unenviable task of taking on a role made famous by the great Daniel Day-Lewis, and succeeds admirably. He’s a big, gruff, bear of a man. Often wading through scenes of carnage, sporting a blood spattered apron and a leather belt dangling an impressive array of professional butcher’s knives. Sheldon radiates menace, his calm swagger justified when we see him burst into action, despatching hapless opponents with Terminator style, balletic efficiency. Bill’s tough-as-nails, wife Lize is played in a no nonsense, seen-it-all way by the steely Joanne Howarth, who looks after her brutal husband’s interests in an often disturbingly motherly way.
A special mention must go to Lucas Button as the naive and immensely likeable police constable Lew Barker. Smitten by the strong-willed Maggie, he soon finds himself caught between his allegiance to the greedy, whiskey-fuelled Mayor Fernando Wood (an often hilarious Robert Maskell) and his reliance on backhanders from Bill The Butcher. When Lew betrays Bill, he receives an almighty beating from Bill, on a par with Brando in ‘The Chase’ or Christopher Walken in ‘The Dogs Of War’. As stated earlier, the onstage violence is truly effective, with heads regularly slammed against the wooden decking, or on to primitive wheelbarrows and carts that make up the sparse set. There are as many belly laughs and hysterical shrieks of delight from the audience, as there are howls of disgust, surprise, and shock at the snapping of limbs, gouging of eyes, and gut-splitting stabbings.
Expert movement direction from Lucy Cullingford, and fight direction by Kaitlin Howard, are vital elements which succeed magnificently. Together with a rollicking, and often suitably moody musical score by local artistes ME + Deboe, all the ingredients for a roller coaster theatrical experience are here.
A truly oddball choice for a show, but a very, very welcome one that has certainly paid off.
Runs in REP until 31 August 2024
Thrillingly Epic
The Reviews Hub Score
