Show: The Gangs Of New York
Location: Chester Storyhouse
Date: Friday, July 19– Saturday, August 31
Time: 7.30pm
Running Time: 170 Minutes
Age Rating: 12+
Director: John Young
Producer: Helen Redcliffe
Adapted By: Kieran Lynn
Designer: Elizabeth Wright
Direction & Musical Arrangements: Me + Deboe
Set Construction: Liverpool Scenic
Costume Supervisor: Therese Denis
Costume Maker: Grace Fernyhough
Musical Director: Tom Slade
Fight Director: Kaitlin Howard
Movement Director: Lucy Cullingford
Sound Designer: Tom Marshall
Lighting Designer: Ueuan Reeve
Not having seen the film, I went along to the show, sorry to say, with a degree of Schadenfreude: GPOAT may be renowned for its remarkable open-air productions over the years but how on earth would they pull this off? Well, doubt and pessimism soon turned into sheer delight, watching a wonderfully well-executed production that excelled in every aspect: staging, music, costume, plot, and of course, cast, all of them masters of Irish and American accents But one thing needed a little attention: the subtitles display (‘loose’ instead of ‘lose’), something else new this season, and basically a good idea given the raucous seagulls, tho no chiming clocks or bells on this occasion.
The props hurtle on and off with expertise and are put to ingenious use: for example, when the immigrants arrive at the New York docks and the music strikes up, actors beat out the rhythm on their suitcases. And here we have John Morrisey, fresh off the boat though by no means as naïve as that may imply, Oisín Thompson delivering a most charismatic anti-hero (based on a real person), tho marginally outdone by Hanora Kamen’s Hellcat Maggie – she certainly puts the f in feisty while happily dispensing much of the comedy. He regards her as his little sister, and the pair of them kick off by fighting a couple of Bowery Boys, from one of the many gangs constantly struggling to lord it over this territory. Fortunately, they have impressed one leader, Sadie, who proposes setting John off in the right direction as a prize-fighter, which brings him to the attention of his deadly rival, Bill the Butcher, an impressively sinister James Sheldon
John’s rise speedily continues, the American Dream in his sights, and in his grip, especially after he meets the enchanting Suzie (Yolanda Ovide), who despite marrying below her, still has influence, connections, and money, speculating wisely, which matches her husband’s spectacular success, pub to casino to betting on politics. It doesn’t harm that the father of her giddy friend Catherine (Jenny Murphy), conniving Fernando Wood (a comical turn from Robert Maskell), obsessed with becoming Mayor, believes he can do so only with John’s help, by fair means or foul if invariably the latter
What I felt was particularly horrifying about the corruption, police, and politics, was not so much the weary knowledge that nothing ever changes but that it was so casual, not just widespread and taken for granted. Similarly topical: racism and detestation of immigrants, especially from Bill the Butcher. But all this is countered by a distinct nod to feminism with such strong, clever women, including gang leaders, particularly Sadie (Natasha Bain). Bill the Butcher’s mother Lize (a menacing Joanne Howarth) is even more formidable than him; Maggie is the making of policeman Lew (soberly and sensibly played by Lucas Button in what you could call a decent performance if that didn’t sound derogatory), and John could never have succeeded without his resourceful wife.
Music and songs sometimes feel obligatory for anything to do with the Irish but those scenes were much enhanced. And so much humour and witty dialogue was a surprise but worked particularly well offsetting the violence (so cleverly choreographed) and the sheer grimness and grime of everyday life. By contrast, as John precariously works his way up the ladder, the costumes, his included, are more and more elaborate, having commenced with just showing off Suzie’s splendour.
A play for today – any day. And unmissable. I don’t think I have ever seen an audience engage so fully with a show, applauding, cheering, and booing as if they too were on the stage and in New York City. The bells really should have been ringing for this production.
