The Hitmen

The Hitmen could be about the would-be assassins. It might be about the callous nature of the corporate world and the insensitive process of the group job interview where, to succeed over the other applicants is not, it seems, dissimilar to the justification of ones very existence. But The Hitmen is also about the reasons people choose to stay alive, especially when death appears to be imminent or even preferable.  

Wittrup’s play has all the satisfaction of a whodunnit. Guessing which of the six job applicants will be next eliminated has all the satisfaction of reality TV: who will align with whom and who will pass the next test? There is the satisfaction of being proved right and the delight of surprise when proven incorrect. There is also the vicarious pleasure of hating on certain characters whilst rooting for others.

The characters are well defined and complex and portrayed by excellent performers.  Samantha James-Radford, well known as a singer, is deliciously abhorrent as Christine. With Paul Dellas as Brian, the two are crude (NB: profanity warning) but more nuanced than the stereotypes first presented. Dellas was at home in a role which was physically demanding. Their final scene is a satisfying and darkly comic twist.

Jeremy Pyefinch has a mouth which is a semi-automatic weapon. As Mark, Pyefinch demonstrates emotional range, navigating the tightrope of humour, emotional truth and pace with dexterity. One of the difficulties of the play itself is the way it wends between dark humour, satire and genuine emotion.

Natalie Venettacci plays the more serious and enigmatic character of Anna very believably. The audience is eventually privy to Anna’s back story as with the other applicants. Characters to whom the audience might initially have felt unsympathetic all receive their moment when their motivation is revealed. Vulnerability inevitably leads to being culled from the interview process. The Hitmen owes much to Survivor and The Apprentice. Venettacchi is reliably strong in her role.

Noah Casey is well cast as Darren, the one applicant with whom the audience might most easily identify. Casey, always a comic delight, garnered many of the opening night laughs.

Giovanna Padas brings the number of job applicants to six. She is sympathetic for being the older contender unaware as to how much the industry of contract killing has changed. The profession of hitman, like life, is for the young and fit. 

Commanding all of the action is Emma Skalicky as Gwen, recruitment officer for the Contract Killers Company. She is assured in a role which is demanding and complex.

Not to be neglected or underrated is Lochie Dew as John. Dew is a large actor in a part which may have been small if taken by anyone else. He is fascinating to watch.

Gardner has done much to keep the action visually engaging. Facilitated by McBride’s lighting design, each character is given their moment of vulnerability and introspection. The set is an appropriate corporate backdrop but made interesting through the use of chairs. What could be static, is varied and never dull.

This play is much more than a commentary on the expendability of the employee. It is about why it is that we clamber over the bodies of those underneath us to reach the pinnacle.  Whilst frequently profane, it is funny, both predictable and unpredictable and worth seeing for excellent direction and individual performances.

Anne Blythe-Cooper

Photographer: Joel Wilson