Hangmen, Royal Court ****

The Royal Court has somewhat diverted from its radical and experimental pathway with the latest Martin McDonagh play, which feels far more of a traditional piece than usual, with a more or less old-fashioned set from Anna Fleischle (apart from a spectacular scene change after a shocking prologue) and a structure that resembles a 'normal' play . This was my first McDonagh play and, despite the above, I was taken aback at how dark this piece is. Humour is found in the most shocking places with a final scene that was horrifying yet hilarious at the same time. Whilst the play lacks emotion at times, it is expertly crafted . The cast solidly reinforces this with David Morrisey (a hearty 'hello to Jason Isaacs' to him) playing Harry the hangman and publican with a sense of hubris and a menacing façade hiding an all too human man whose heart is shown at the twist before the interval. Reece Sheersmith plays a part that suits his style, reminding me of characters in Phsycoville and the excellent Inside No. 9, and is fantastically comic in his earnest and Machiavellian role. Jonny Flynn's Mooney is also fantastically unhinged and unpredictable. My sole criticism would be the casting of an all white cast which doesn't seem too important but I don't particularly want to rant about that again. A West End run seems inevitable for this remarkably macabre and smoky production and it will be deserved from a play that is wonderfully divisive and manipulative.

hang, Royal Court ***

After running from Cannon Street to Sloane Square in 45 minutes, I was expecting a lot from debbie tucker green's new play at the Royal Court. It is an hour long, intense and provocative production set in a time and place removed from the present day. This is a place where (spoiler alert) capital punishment exists and the victim can choose the criminal's method of death. This dark world is totally unrelatable to me, bar from the attitude of the authority representatives, who are unnamed, who try and fail to deal with the situation of the victim, who is also unnamed. This means that everything bar the final moments of the piece failed to really connect with me. I also feel that the upstairs theatre could help the play reach it's full potential as it has an intimacy that the downstairs theatre can't acheive and can make each movement and action more distinguished and could execute the emotion in the piece more effectively. The actors are all superb, especially Marianne Jean-Baptiste who shows a shaken and harmed individual fighting for justice. Claire Rushbrook and Shane Zaza are good too at showing people who are trying to show compassion and work withing the constraints of their profession. Bausor's design is raw and conveys the sense of bleak isolation well. tucker green's writing too is sharp and well constructed if only it could be relatable to a modern day audience.

The Twits, Royal Court ***

The Twits is the latest of Dahl adaptions to reach London. Currently on the West End, both Charlie and the Chocolate Factory as well as Matilda are continuing to entertain and astonish crowds. There have also been adaptions of shows like Danny Champion of the World. This is perhaps due to the fact that the surreal writing of the genius and his heightened characters are at home on the stage. However, when I saw that The Twits was coming to the Royal Court, I was slightly surprised. Not that the characters wouldn't suit the stage; Mr and Mrs Twit are so strange and weird that would be instant hits on a stage; rather that the story-line of the novella is hardly complex. In fact there is no real story-line as such. Unless the Royal Court wanted to do a Beckett interpretation of Roald Dahl's classic, it would be difficult to translate the plot, or lack thereof, and to keep children entertained for two hours. What Enda Walsh has done is to pad out the story and introduces us to three new characters who are seeking to have their fairground returned after Mr and Mrs Twit 'stole' it from them. This addition works but the Dahl surrealism is lost. I hate to say it, but I feel that Enda Walsh needs to be more mischievous in his adaptation. It occasionally feels slightly tame in spite of Monica Dolan and Jason Watkins being far from tame in the title roles. They are magnificently horrible conveying the metaphor of the posh suppressing the lower classes well for the adults who get something out of the evening as well as the kids. The monkey's are good, as are the new additions but there is a love interest subplot between a monkey and the waltzer boy which seems slightly problematic. Is this the perfect adaptation of a Dahl book? Not by a long shot but it is a pretty good stab at one and results in an experience which is extremely pleasant.

Hope, Royal Court ****

Tommy Knight and Paul Higgins in Hope

You can't help getting exited when approaching the Royal Court. Despite the only other play I saw there was somewhat of a car crash, there is an energy there of revolution and of a theatre trying to seriously change something. If you have seen any of their micro-plays in collaboration with the Guardian, you will be able to see this. Their political play is especially powerful. This play supports this revolution. In a set up which could be quite tedious (a local council setting a budget. What Fun!), Jack Thorpe's wit and enthusiasm bursts through and, with support from a wonderful cast, gives the play life. It gives an insight into local politics which, in turn, helps us appreciate the work all politicians have to do. It is about the value of trying to do the right thing, even when people disagree with your opinion. When reading Quentin Lett's one star review of the play in the Daily Mail, I thought that this play would be completely liberal and condemning of the conservatives and it is in a way. However, this play leaps to defend all politicians and is complimentary of the Conservative's economic policies which helped us out of the hell- hole which we were in and, whilst it still condemns the handling of budget cuts to different councils, it is far more open minded than Letts gives it credit for. It also confronts how hypocritical the media and general public are, criticizing them for struggling to form the budget then lampooning them when they do suggest where the cuts can be made. The set helps to tell its audience how politics isn't the glamour or style of the UN or Westminster but is made by real people in local, run down places. The play is hopeful and, in my opinion, has potential to be a modern classic.