In Medieval times morality plays like "Pride
of Life," "The Castle of Perseverance" and "Everyman"
were performed on stages erected in front of the great west door
of the church. In Improbable Theatre’s modern morality play,
"The Hanging Man," which opened at the BAM Harvey Theater
Nov. 4, the action takes place within the framework of an unfinished
cathedral.
But "The Hanging Man" has more in common with Medieval
drama than just staging. If Everyman searches among his friends
(Kindred, Goods, Beauty, Strength) for someone who will accompany
him to the grave, Edward Braff, the protagonist of "The
Hanging Man," searches for someone who will help him complete
his suicide so he will not remain forever suspended between heaven
and hell.
And like the producers of Medieval plays, collaborators Phelim
McDermott, Lee Simpson and Julian Crouch make ample use of special
effects – with smoke, trap doors and overhead machinery, mostly
pulleys and lines that allow Braff to dangle in the air.
But while in Medieval times this machinery might be hidden behind
cloths painted to represent clouds or the sky, in "The Hanging
Man" co-designer Phil Eddols’ ingenious system of pulleys
is manipulated right out in the open – with an effect much like
that of puppeteers seen pulling the strings of their marionettes.
Indeed, just as the cathedral is presented in mid-construction,
Improbable Theatre presents "The Hanging Man" as a
work-in-progress. It’s performed by a troupe of seven acrobatic
actors (Lisa Hammond, Nick Haverson, Richard Katz, Catherine
Marmier, Rachael Spence, Ed Woodall and Tim Preece) who serve
as both principal actors and chorus commenting on and explaining
the action before – and after – it unfolds.
These actors discuss not only the meaning of the play, but also
what it’s like performing in the play. At one point Death (Hammond)
asks the audience how one should choose whose life is to be ended.
Should it be the man in the back, the lady in front or all those
who came in late?
Together the ensemble tells the story of architect Edward Braff
(Katz), who in the middle of constructing a magnificent cathedral
"took a rope from the store shed. Tied it to a beam. Tied
it around his neck as he stood on a chair and kicked the chair
away," as it says in the program notes.
The only problem is that Death, a dwarf, refuses to let him die.
"Pissed off" because Braff wants to do it all on his
own, she informs him that "a great death is like a beautiful
dialogue." It’s a relationship with a beginning, middle
and end. Death tells Braff that until he fully understands what
he’s doing and why "You’ll just have to wait, won’t you?"
To achieve her ends Death brings forth many people from Braff’s
past life – his patron who commissioned the cathedral; all the
people he has ignored in his life, bishops who wrestle with their
own demons; his wife who takes off, suitcase in hand. Braff’s
life is reconstructed onstage, just like the model of the first
church he ever built.
In the meantime the rest of the world has discovered that once
one man has defied and defeated death (even if unwillingly),
no one else can die.
Many now regard Braff as saint and healer who can cure people
by a mere laying on of hands. Others are so preoccupied by death
they play a kind of charades in which people act out different
death scenes. Death figures prominently in their dreams.
"The Hanging Man" is a visual feast – a kaleidoscope
of swirling whites. Stephen Snell has designed costumes that
portray Death as a businesswoman, and hardhats as collective
workers in Mao’s China. There are also winged angels, mitered
bishops, grotesque masks and ridiculously high, brimless hats.
The play is brilliantly scripted and choreographed by McDermott,
Simpson and Crouch, with music Darron L. West has culled from
New Orleans, discos, music halls, big bands and rock concerts.
All is bathed in Colin Grenfell’s spectacular and subtle lighting.
"The Hanging Man" is not an easy play to understand.
Scenes seem to dangle and dance – disconnected and dissonant
– much like Braff, who refuses to live but cannot die. Yet a
common pathos, irony and humor connects everyone in "The
Hanging Man." Often scenes follow one another like those
in silent films directed by Charlie Chaplin or Buster Keaton.
And like those two comedians, McDermott, Simpson and Crouch have
a fine sense of the tragic condition of humankind.
In the end, "The Hanging Man" is about nothing less
than redemption and salvation – something Improbable Theatre
thinks is not at all impossible.
Improbable Theatre’s "The Hanging
Man" plays Nov. 6 through Nov. 8 at 7:30 pm, and Nov. 9
at 3 pm, at the BAM Harvey Theater. Tickets are $20, $30 and
$45. BAM Harvey Theater is located at 651 Fulton St. at Rockwell
Place in Fort Greene. For tickets, call BAM at (718) 636-4100
or visit www.bam.org.
