HANGMEN Returns to Broadway - Previews & News Thread — Page 2

OffOnBwayHi said: " LOL Why put a show up that may not finish the entire run (leaving the theater empty AGAIN) and more than likely not make a profit?

It makes no sense. Put something up in one of the empty theaters that feels like a sure commercial bet, or give a underrepresented writer of color a chance to mount their "wonderful play" on a Broadway stage.

After all the talk these past two years, the industry is doing the same stuff. And it's even more repulsive because many folks, including the lead producer, know what the outcome of this mostly white show will be."

What exactly is your objection? That the play is about Manchester and British people? That it will not turn a profit? That it's a bad play?

Broadway real estate isn't just up for grabs, and plays by "underrepresented writers of color" require producing force behind them, same as anything else. Broadway is not regional theatre, "they" don't just "pick" plays to do — it requires a whole machine to get an individual production on its feet. Hangmen already had a producing team and passionate underwriters before they were shut down. They probably even got some government assistance money, like many productions did.

If you only want to see plays by authors of color, go see For Colored Girls or A Strange Loop and skip this, but to pretend like this is pushing out other plays that are more deserving is just not true. Most likely there will be several empty theaters during the spring season. This is hardly taking away real estate from somebody else.

Also, commercial theatre isn't charity -- it's tax breaks :)

Updated On: 2/2/22 at 02:01 PM

@OffonBwayHi

I agree with your broad sentiments, but I think what confuses me about your stance is that there are empty theatres right now. So this isn't a question of either/or. Aleasha Harris, Haruna Lee, or Jackie Sibblies Drury, et. al. could theoretically ALSO have shows on Broadway right now. It's not mutually exclusive. These producers are putting on Hangmen because they are passionate about it, and they're passionate about it for a reason. Like you, I hope that people will also feel passionate enough about Jackie Sibblies Drury, Brandon Jacobs-Jenkins, Mia Chung, Celine Song, and many others, to put them up on Broadway someday. But in a season with empty theatres, and probably many producers waiting idly for conditions to improve, wouldn't our energy be better spent casting light on these specific playwrights? Uplifting their voices, and trying to get the attention of producers looking for a new passion project? Rather than tearing down another production that's being put on at the expense of no one but the investors (and the SVOG fund). I just don't see the practical function of this criticism.

Again, if the theatres were booked solid, and the playwrights were mostly Oscar-nominated white men, I think I'd be more in agreement with what you're saying. But as it is, it strikes me as misdirected energy.

Updated On: 2/2/22 at 02:25 PM

never mind!

Updated On: 2/3/22 at 10:08 AM

Saw it pre-pandemic on the second-row orchestra and was really impressed by two (?) set changes, although the Irish accent totally lost me. Debating if I should go back or review the NTLive recording and save my time for other plays

https://www.filmedonstage.com/series/392-hangmen

orpheus4 said: "Thanks! Although I don’t see how I can watch it on that website."

You can't. It's more info on the NTLive broadcast.

OffOnBwayHi said: "JBroadway said: "@OffonBwayHi

I agree with your broad sentiments, but I think what confuses me about your stance is that there are empty theatres right now. So this isn't a question of either/or. Aleasha Harris,Haruna Lee, or Jackie Sibblies Drury, et. al. could theoretically ALSO have shows on Broadway right now. It's not mutually exclusive. These producers are putting on Hangmen because they are passionate about it, and they're passionate about it for a reason. Like you, I hope that people will also feel passionate enough about Jackie Sibblies Drury, Brandon Jacobs-Jenkins, Mia Chung, Celine Song, and many others, to put them up on Broadway someday. But in a season with empty theatres, and probably many producers waiting idly for conditions to improve, wouldn't our energy be better spent casting light on these specific playwrights? Uplifting their voices, and trying to get the attention of producers looking for a new passion project? Rather than tearing down another production that's being put on at the expense of no one but the investors (and the SVOG fund). I just don't see the practical function of this criticism.

Again, if the theatres were booked solid, and the playwrights were mostly Oscar-nominated white men, I think I'd be more in agreement with what you're saying. But as it is, it strikes me as misdirected energy."

Hey JBroadway!

Thanks for this comment. I can't disagree for the most part. You shifted my perspective. I personally don't think the show is that great, and I sense that a lack of demand/word of mouth will prove that. But yes, my initial comment was a bit harsh. Sorry! I'm passionate. lol

But I wonder what would happen, or if this is even possible, if Robert Fox used his same resources and poured them into a playwright of color. He's not expecting the show to be a hit, or even nearly recoup + the Times story stated he's basically starting from scratch cause the team and even the set has been (for a lack of words) trashed.

Yes, there are plenty of theaters now, but I guess what I'm saying is that the people, the leaders in the theater industry, must make the choice to place the shows in those spaces. This seems to be a perfect opportunity to do that with a show that is ready to quickly/easily transfer to a Broadway house. For example, 'Is God Is' by Aleasha could do that EASILY and quickly. It's a small show that plays BIG. And was a hit off-broadway. Branden Jacobs Jenkins is an AWESOME example of someone whose work could do the same.

And ultimately I guess what I'm saying is that I'm hearing a lot of excuses about why they shouldn't, instead of more brainstorming about how they can right now."

I get your point and understand your passion. But, sadly, as much as we are in a business of art and creation, we are in a business to make money. The reason those playwrights have done so well off-Broadway is, probably, because of white people. So, they aren't mutually exclusive. The problem is on Broadway people want to make money. Even something like "Is God Is" which might seem like a small play is going to cost $5M to mount. Who is going to just willing throw away their money. As evident by all the works put on in the fall, audiences aren't so interested in a heavy show. I think Hangmen will do really well. It's a great show, great set/direction, and an interesting premise. And a proven playwright that audiences enjoy.

I'd say your issues should be more with non-profits on Broadway for constantly producing the same stuff over and over again, not commercial producers.

https://www.broadwayworld.com/article/Photos-HANGMEN-Cast-Creative-Team-Arrive-at-Golden-Theatre-for-First-Performance-20220407

Man, I wish some theatre would do all of McDonagh's plays in repertory. Would have to be off-Broadway or regional, but seeing several of his works in succession would be a great experience. I can still recall moments from each previous production of his work in NYC.

Updated On: 4/8/22 at 05:05 PM

That was posted to Reddit. Is that the set?

https://www.reddit.com/r/Broadway/comments/typlbw/the_golden/

Thank you! Reddit didn’t include the name of the show. I thought it was Hangmen’s set but wasn’t sure.

I was at the dress rehearsal this afternoon. I won’t comment on pacing or performances in light of that. And my issues are mostly confined to the text of the play itself.


This is not McDonagh’s best. In fact, it feels like a rehash of the plays that made him famous, all jammed together and then defanged. It’s McDonagh-by-numbers. The play’s big twists and plot tropes all can be found in other plays he’s written- better plays. The Irish setting, coarse language, the non-PC humor and shock, the violence- it’s all here, sort of, but it all feels so warmed over and half-hearted that it loses all of the thrill. Whereas plays like Pillowman or Lieutenant of Inishmore or Beauty Queen of Leenane elevated these things to art and used them to build and explore themes and memorable characters, here they just seem… dutiful. None of the characters here are nearly as memorable as the other twisted, vengeful, psychotic, dim or verbose members of the McDonagh canon.

The play is also extremely long. It’s a solid 2.5 hours, and the first act feels the drag horribly, largely due to the fact it’s almost all setup and exposition. The second half is sprightlier and funnier- the climactic scene is very funny and the closest we get to the type of dark farcical absurdity McDonagh is well-known for. But it all adds up to remarkably little, and it’s a letdown.

That was a fragment I meant to delete before posting.


…play’s still weak.