Review: Manhunt at Royal Court Theatre
⭐⭐⭐⭐⭐ (Five Stars)
Manhunt, written and directed by Robert Icke, is an electrifying, unrelenting depiction of the biggest manhunt in modern British history. The play chronicles Raoul Moat's descent into violence after his release from Durham Prison on 1st July 2010, leading to a shocking shooting spree that left one person dead, another blinded, and a third critically injured. The play cleverly blurs the line between fact and Moat’s own perception and imagination of events, immersing the audience from the very first moments.
As the audience enters the Royal Court’s Jerwood Theatre Downstairs auditorium, Moat is already present onstage, alternating between lying in a fetal position, pacing the stage, and doing push-ups behind a translucent screen and metal bars. A live video feed projects a bird’s-eye view of him onto the screen between Moat and the audience, further amplifying the sense of voyeurism. This decision immediately sets the tone and places the audience in the same position as the UK public during the real-life events of the manhunt, unable to look away as the events unravel before their eyes.
The feeling of surveillance continues throughout the performance. Moat frequently addresses the audience directly while other characters circle around him and the tension builds with pulsating music. The stage becomes a metaphor for Foucault's panopticon: a space where Moat is always under watch, and the audience becomes complicit in the voyeuristic nature of the spectacle. A particularly striking moment occurs when one of his victims is blinded. A clever choice by lighting designer Azusa Ono plunges the audience into darkness as the victim’s sight is lost, heightening the emotional stakes. It’s a sharp commentary on how the victims of high-profile crimes often fade into the background once the criminal takes center stage.
Hildegard Bechtler's set design is minimalist at first, but it evolves as the play progresses. Industrial sliding doors give way to an outfoor clearing with shrubbery and rainfall. Above the stage is a screen which is used to display the date to establish the timeline events are taking place in as well as social media posts from Moat and his victims from the time of the manhunt. Ash J Woodward’s video design is very effective in its use of live camera work that allows the audience to see events thorough Moat’s eyes and from a bird’s-eye view. This also serves to create a cinematic quality that enriches the viewing experience. Tom Gibbons' sound design adds another layer to the production, with pulsating music building tension during critical moments, adding to the urgency that permeates the play.
At the heart of Manhunt is Samuel Edward-Cook’s fantastic performance as Raoul Moat. Edward-Cook captures the terrifying volatility of Moat with chilling precision. From the violent outbursts to the moments of delusion, his portrayal is captivating, and his physicality, throwing furniture and engaging in brutal altercations with striking realism, is jaw-dropping. The fight direction by Kev McCurdy adds an additional level of intensity, making every physical confrontation feel raw and dangerous.
The play also introduces two young child actors, one playing Moat's daughter in his imagination, and the other portraying Moat as a child in flashbacks that offer insight into his troubled upbringing. The presence of these children on stage makes the violence in the play all the more harrowing, and their inclusion is a stark reminder of the cycle of trauma and violence that can haunt future generations.
Moat’s toxic masculinity is at the core of the play. His obsession with appearing strong and powerful to retain his relationship (with a woman notably younger than him), and his ultimately destructive jealousy, serves as a chilling reflection on how societal pressures of manhood and dominance can lead to catastrophic violence. Icke’s script doesn’t offer any easy answers, and the character of Moat remains defiant and unrepentant, even in his final moments when he blames everything from his lack of a father figure to the police for his actions. This unflinching exploration of the psyche of an unremorseful killer is both disturbing and fascinating.
Manhunt is a brilliant, thought-provoking piece of theatre. It is a visceral, atmospheric, and unflinching exploration of a man driven to violence. Robert Icke’s direction is masterful, and the entire production, from its dynamic performances to its creative design elements, delivers an experience that is as thrilling as it is chilling.
Manhunt runs at the Royal Court Theatre until 3rd May 2025.
Photos by Manuel Harlan