A Behanding in Spokane

Hear / Say: Find out what critics around the world have been saying about McDonagh’s new play, “A Behanding in Spokane”

By July 10, 2013 September 1st, 2014 No Comments

NEW YORK TIMES REVIEW:

“Sometimes, in one of theater’s more undervalued romantic story lines, an actor meets a set and — flash! — chemistry happens. The opening image of Christopher Walken in Martin McDonagh’s “Behanding in Spokane” is such a perfect, demented marriage of character and environment that you can’t help grinning like a fool.”

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ASSOCIATED PRESS REVIEW:

“If you are going to put creepy – and more than a little crazy – on stage, Christopher Walken is your main man. The actor is the spark plug who jump-starts “A Behanding in Spokane,” Martin McDonagh’s slight slice of macabre double-dealing that opened Thursday at Broadway’s Gerald Schoenfeld Theatre.”

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NEW YORK POST REVIEW:

“Christopher Walken has an eccentric charisma, his hangdog, sorrowful demeanor spiked with a twisted kind of charm. The mix is a perfect fit for Martin McDonagh’s particular brand of macabre comedy. That Walken is the main attraction of the playwright’s new “A Behanding in Spokane” is obvious — the other night, the audience erupted into guffaws every time the star opened his mouth. But the performance is more subtle than this reflexive response indicates: There’s a hauntingly off-kilter poetry to Walken. It almost distracts you from how contrived McDonagh’s writing is. ”

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VARIETY REVIEW:

“If you’re looking to fill the role of an A-grade “cracker motherfucker,” to use the parlance of Martin McDonagh, then Christopher Walken is your go-to guy. Imagine the actor’s hidden-wristwatch tale from “Pulp Fiction” bulked up into a freestanding narrative and you have an approximate idea of “A Behanding in Spokane,” a piece of virtuoso storytelling fashioned out of a slim anecdote. There’s no broader theme, no veiled subtext and no underlying allegory. The playwright makes no pretense of doing anything beyond spinning a good yarn. Entertaining as it is, however, the black comedy remains insubstantial. ”

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USA TODAY REVIEW:

“The ferociously gifted Anglo-Irish writer Martin McDonagh has cited American authors and filmmakers from Flannery O’Connor to Martin Scorsese as influences. So you might expect these artists to inform A Behanding in Spokane (**½ out of four), his first play set in the USA.”

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WALL STREET JOURNAL REVIEW:

“When blood is shed in a Martin McDonagh play, the audience always laughs—and usually gasps. Mr. McDonagh is partial to comic violence, and in “A Behanding in Spokane” he lets it rip. I mustn’t be too specific, this being a play full of grisly surprises, but there’s one thing about which I can be absolutely precise: “A Behanding in Spokane” is the funniest new play to open in New York since I started writing this column.”

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HOLLYWOOD REPORTER REVIEW:

“Bottom Line: A brilliant cast elevates this profane shaggy-dog comedy to wildly entertaining proportions.”

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