Hang Time theatre review: An unnerving cycle
A haunting portrayal of racialised violence in America, the production oscillates between unexpected pockets of humour and chilling reminders of present-day horrors
Using stark silence and the arresting creaks of imaginary rope, the opening moments of Hang Time are visually striking and horrifying. Influenced by the deaths in 2020 of Robert Fuller and Malcolm Harsch, Zora Howard’s play touches on a grim trend of racial violence in present-day America. Centre stage, three black men in modern clothing are suspended, caught in an unknown purgatory. The production is minimal yet complex as Reza Behjat’s lighting design creates an illusion; it reflects life and death as the atmosphere jumps from chilling silence to light laughter in an unnerving cycle. Their demeanour becomes jovial as Slim, Bird and Blood banter about life, music, love and future plans until the horror of their situation once again seeps in.
As the flawless physical performances of Kamal Bolden, Bryce Foley and Julian Rozzell share a glimpse of the lives stolen, instead of solely focusing on their end, the emptiness of the stage makes the viewer acutely aware of their own response. Presented with only laughter as a relief, even with a brief loss of pace at one point, this hour is brimming with underlying tension. The staging, writing and performances deftly provoke the audience, as individuals and collectively, articulating the urgent need for indignation to become action.
Hang Time, reviewed at Lyceum Theatre; picture: Andrew Perry.