After The Applause

Manhunt at the Royal Court Theatre is a brand new play written by Robert Icke (Player Kings, Oedipus) and is based on the true actions of Raoul Moat in the Summer of 2010. The play is essentially a study into the background of Moat, a more detailed insight into his upbringing and a fascinating 90 minute study on the hot topic of hyper-masculinity (as seen in current Netflix hit Adolescence and in Punch by James Graham at the Young Vic).

As you enter the Jerwood Theatre Downstairs you are greeted with Hildegard Bechtler’s huge stage design, with a set of bars acting as the curtain. Through the bars we get a glimpse of Samuel Edward Cooke as Raoul Moat prowling the stage like an animal in a cage, occasionally putting his head into his hands or doing some pushups. The play begins abruptly with the bars being lifted and Moat addressing the audience.

The play is split into 3 distinct sections, the first is staged around a court case in which Moat recounts the weeks and months prior to his murder and addresses it to a magistrate whilst also breaking the fourth wall and adding in details to the audience. This section really focuses in on Moat as a character, we see his love for his children as well as his brutal anger and outbursts and most importantly his relationship with his partner Sam. The play does not aim to justify what Raoul Moat did, it simply explains why he did it and provides details that the audience may not have known about Moat. It is portrayed absolutely superbly by Edward-Cooke who creates such a terrifying image and delivers a stunning and captivating performance. This section is splendidly multi roled by the cast and is underscored by Tom Gibbon’s clever sound design.

As we grow closer to Moat’s murder the lights get dimmer in the auditorium, Azunsa Ono’s lighting design is harsh and simplistic and really adds to the growing tension and mounting aggression of the play. Then through the use of Ash J Woodwards video design we see Moat’s murder and then again through use of light and video we see a projection of Edward-Cooke’s grimacing face pointing a gun at the audience and then suddenly we are plunged into blackout.

This second section focuses on the story of PC David Rathband who was blinded after Moat shot him whilst he was on Patrol in his police car. This whole section is in pitch black and we are made to purely just listen and it is an absolutely compelling piece of stagecraft. It was the first time i had ever experienced anything like it and it also made us listen to the sensational writing by Icke as we hear the whole tragic story of Rathband and his suicide two years after the events of July 2010. I was really taken aback by this section of the play, and Nicholas Tennant’s voice over is full of raw emotion and is very well executed.

The final part of the play shows Moat on the run in the woods, the stage whilst in blackout has been transformed into a forest. This last section presents the hypothetical meeting between Moat and Paul Gascgoine who had attempted to go and talk Moat down whilst in a drug-fueled rampage. Icke imagines what their conversation would have been like in a heartfelt almost wholesome scene where Gazza is played really well by Trevor Fox. This section then concludes with Moat addressing the audience and dismissing the magistrate as he says that the story was finished in the woods. Video is used again as we see Moat being attended to by paramedics after his suicide and then Moat emerges from behind the curtain and watches the video. It’s a really striking final image as a loud buzzer goes, the shutter comes down and as the audience leave the play ends how it began as Cooke prowls the stage behind the bars.

This play was very well thought out and put together, it is a good study of Moat and is written brilliantly by Icke. I felt scared at times knowing that this was a real man who had once roamed the streets, but I think that is credit to Edward-Cooke’s testosterone saturated, stellar central performance.

MY VERDICT:

This is a really, really well written play, with some unusual moments as well. Especially the random involvement of child actors that I felt had minimal effect on the overall plot and feeling of the play. The set, sound and lighting all add to create this uneasy effect as well as some pretty strong performances by the 8 strong adult cast. I would have been 2 at the time of these events happening so prior to seeing it, I didn’t know much about it. However after doing my research I can see how well Icke captures, summarises and recounts the story but this play would have been nothing without the powerhouse acting of Samuel Edward-Cooke!

My standout performers are:

Samuel Edward-Cooke, Danny Kirrane (wonderfully plays Moat’s accomplice Karl) and Trevor Fox

Manhunt is playing at the Jerwood Theatre Downstairs at The Royal Court Theatre in Sloane Square until the 3rd May and there is still plenty of ticket availability!

Photos are credited to Tristan Kenton