What do you get when you mix classic British humour with hanging people for a living? Well, Executioner Number One, of course. The piece, written and performed by Toby Whithouse combines the idea of working as an executioner in a Britain that still has the death penalty with humour that echoes that of Peep Show or David Brent from The Office. Fundamentally, it’s an odd idea, but Whithouse’s charming humour about the gratification the character of Ian takes from his job is very entertaining.

The piece lacks a bit of environmental establishment; it is never made certain what time-frame or reality the piece is engaging with. Whithouse suggests in his promotion that the show is set in contemporary Britain, but the nostalgic set background consisting of 1960s television sets and other appliances is evocative of an age when the death penalty was still active in Britain. As such, the audience can find themselves a bit lost, and as enjoyable as the jokey narrative is, it is difficult to fully relate and immerse ourselves in Whithouse’s reality.

That being said, the piece is rescued by its quintessentially British humour. This is laced throughout and resonates with the audience well. His extensive background in writing television shines through as the humour is quick witted and sharp.

Whithouse’s acting is true to the piece, and breaking through the humour there are  several moments that are very emotionally affective. It is clear that Ian enjoys his job and is proud of it, but it is interesting that the piece was not only about the dramatic downfalls involved in hanging a person, but the downfalls within himself as well. A section in which he discusses hanging a small boy is heartbreaking; his small gestures adding to the reality of the situation.

An enjoyable piece, it could have been made more apparent precisely why Whithouse was exploring a modern Britain with the death penalty in the first place. What was he trying to say about the here and now? Is the piece a comment on certain countries, briefly mentioned in the piece, where the practice of the death penalty is still in place? If so, this should have been made clearer. However, Whithouse’s writing and performance style are enjoyable, and perhaps with more interesting subject matter his work can come into its own.

Executioner Number One is playing at the Soho Theatre until April 15.

Photo: Manuel Harlan