Based on the true story of Raoul Moat who in 2010 killed one person and maimed his girlfriend and a police officer, this powerful recreation of the incidents and the ensuing manhunt focuses on the forces that made Moat into the raging inferno that he was. Abandoned by his father and abused by his mentally ill mother, he was then raised in care, and from his perspective, was abused by all the bureaucratic entities that intervened in his life: the social care system, the police and various legal proceedings. Moat saw himself as a victim, and although Robert Icke's play is largely presented from Moat's point of view, the author strives to balance this and to avoid any appearance of justifying Moat's behaviour as he uncovers its sources. Indeed, a long period in which the audience is in darkness, probably to replicate the blinding of one of Moat's victims, plus the detailed recounting of that victim's story are no doubt intended to serve this purpose. However, despite such clever, if somewhat overdone, directorial moments, the play really doesn't tell us much that is new in terms of understanding the pathology of violent criminals. Indeed, the summing up of Moat's obsession with his girlfriend near the end of the play seems rather standard textbook psychology and a bit belaboured. The issue may be that Robert Icke simply set himself too large a task when he assumes the roles of both writer and director for this piece. The alternating of performers between acting as narrators and being in character always seems a clumsy device, and a reliance on reminding the audience of the chronology of events usually suggests that the narrative arc is insufficient on its own. These issues aside, however, Manhunt remains a spellbinding experience largely due to the extraordinary performance of Samuel Edward-Cook as Moat. He is genuinely terrifying and touchingly vulnerable as he careens between uncontrollable anger and self-serving self-justification. He is well-supported in this outstanding performance by the fine work of Patricia Jones and the rest of the strong cast. The work of Designer Hildegard Bechtler also stands out. The show has some extremely effective visual effects, with a superb use of projections in the prison scene which opens the play. What Manhunt lacks in terms of new insight into its subject matter or construction, it makes up for by the ferocious treatment of its disturbing subject matter.
Rated: ★★★
Reviewed by J.C.
Photo by Manuel Harlan
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