![]() ![]() Atmospheric, under swirls of dry ice and strains of cello, designed by Zoe Squire and directed by Emma Earle, the set works as an optical illusion that distorts perspective, giving a perfect frame to all four actors who, through twists and turns, deliver us a tale of diabolical obsession. With touches of Tell Tale Heart meets Rear Window, Ernest and the Pale Moon is truly gripping. Written by Oliver Lansley, it’s Tim Burton meets Edgar Allen Poe with a thick dusting of Hitchcock. She has no idea he watches her, watching the moon, no idea anyone knows how she loves her moon. She is by her window, bathing in the light of her beloved moon, and he, in the shadows, from his window, gazes across at her apartment, spellbound by her every move. Each is alone, yet not alone, as they are accompanied in their nocturnal vigils. Ernest is her admirer, a night time voyeur who believes she belongs to him. And thus, through a gothic expressionistic style of storytelling, with live music including cello and harmonica, we are led, through black and white tones, into the tale of Gwendoline, who lives by candlelight and cannot tolerate sunlight, a solitary girl with misted eyes who loves the moon. A loud boosh! The awaiting audience startles to attention. One static man on the stage, rigid within a warped frame.
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