Ernest and the Pale Moon

Ernest and the Pale Moon is not a lavish production which only makes it a more astonishing achievement. The twisting tale of murder, insanity, mistaken identities, unrequited love and voyeurism is repeatedly reconstructed from the perspectives of Ernest and Thomas leaving the viewer both compelled and bewildered.

However with such a talented cast one might think the quality of the script almost irrelevant. The ingenuity and imagination with props and physical acting is stunning, the crunching sound of Gwendoline’s bones locked in rigor mortis as Ernest tries to conceal her behind a hollow wall are provided, with some humour, simply by twisting a water bottle.

There’s a transparency to the production, parts which would usually be hidden, the sound effects and scenery changes, become part of the show. The audience watch intently as flashing torches, umbrellas and broom-handles are transfigured into the moon, blood-stained walls and staircases purely through the creativity and persuasion of the actors.

Rachel Dawson, resembling something of a Gothic Alice in Wonderland, is to be particularly commended. Her cello screeches, throbs and moans, underpinning every emotion and moment of tension.

Highly exaggerated and fantastic, the play is reminiscent of the work of Tim Burton and although the acting can be similarly hammy at times, particularly Gwendoline’s squealing and twitching as she blinks at the flashlight moon, it is altogether a highly professional, sophisticated production.