Christopher Walken
photo by Joan Marcus

A Behanding in Spokane is Martin McDonagh’s first out-and-out comedy, albeit a profane and dark comedy, but, indeed, a very funny play peopled by weird and wonderful characters, led by the charismatic Christopher Walken. Even though A Behanding is full of racist, homophobic and obscene language, Mr. McDonagh’s fast pacing and agile use of dialogue raise the play into an entertaining whirlwind of gleeful malevolence.

Mr. Walken plays Carmichael, mired in a depressingly dingy hotel room in some dingy unnamed city. He is seeking his left hand, which was cut off, allegedly by some “rednecks” when he was a child. This has become his single minded life obsession. Two young, inept con artists, Marilyn and Toby, played by Zoe Kazan and Anthony Mackie, claim to have found this hand. They get themselves into deep trouble when Carmichael challenges them on the authenticity of the dried up appendage they offer him. Added into the mix of lower depth characters is the Mervyn of Sam Rockwell, the reluctant and moody receptionist of the seedy hotel who gets unavoidably involved in Carmichael’s mission when he questions Carmichael about a gunshot he has heard. In fact, the gunshot is the opening salvo in the downward spiral of the plot.

A Behanding in Spokane gets more and more farcical after Carmichael handcuffs the young couple to radiators and sets up a gasoline bomb to scare them as he goes off to retrieve the hand they claim is sitting on a nonexistent freezer back in their apartment. Mervyn, who thinks Toby was a drug dealer who stole money from him, also tortures the handcuffed couple mercilessly, until Carmichael returns and further abuses them having confirmed that Marilyn and Toby have lied to him. They are just a dumb couple of pot dealers hoping to get a little windfall to help them survive but have found themselves in over their silly heads. Mervyn who is overly sensitive about his name and his job alternately lords it over the others and is treated to Carmichael’s quietly sadistic machinations.

In the end McDonagh reveals each and every character to be a fraud. It’s the very human frailty of the four characters that raises A Behanding to a higher level, along with McDonagh’s incredible ear for revealing dialogue. Despite some minor holes in the plot, the storyline is intriguing. That we feel for, and even revel in, these characters’ weaknesses and idiosyncrasies is a testament to his writing, and, of course, the brilliant acting by the entire cast.

Mr. Walken is madness personified, his glances both scary and sad and his line readings illuminating and maddening. Mr. Rockwell personifies the cheerless, unfulfilled little man who is given the power of life and death—temporarily, at least—over people sadder than himself. Zoe Kazan’s Marilyn is fragile, yet strong, as she falls all over herself to save her life and her relationship with Toby. Mr. Mackie, to his credit, makes the pathetic Toby a rich and colorful guy, just trying to survive.

The scenery and costumes by Scott Pask were dead on in their shabbiness and Brian MacDevitt’s lighting exaggerated the dinginess of this hotel room.

John Crowley, a long time collaborator with Mr. McDonagh, was particularly adept at keeping the rhythms going and preventing the play from slipping into obviousness.

Although A Behanding in Spokane doesn’t exactly leave a pleasant taste in its aftermath, it confirms Martin McDonagh’s agility with language and his ability to illuminate oddball and irritating circumstances.

Gerald Schoenfeld Theater, 236 West 45^th St.
Through June 6
Tickets: Telecharge or 212-239-6200
More Information: http://www.BehandinginSpokane.com