Ernest And The Pale Moon

The Carriageworks, Leeds/Touring

3/5

THERE’S a thin line between homage and a game of spot the reference. It’s one that’s nearly crossed by Les Enfants Terribles’ Ernest And The Pale Moon, which wouldn’t have reached the stage without its indebtedness to Rear Window, Crime And Punishment and the psychological thrillers of Edgar Allen Poe.

A story of obsession, murder and madness told through flashbacks, the piece strives for originality through its use of mime, physical theatre and elements of silent film evident in the painted white face and rouged lips of Ernest (Anthony Spargo).

This 1950s cinematic feel is underpinned by much of the action taking place within lopsided frames, which create “stills” when combined with snapshot lighting as we see Ernest’s horrified face pressed against a window.

The filmic motifs abound as the same event is viewed from different perspectives. One of these sees love interest Gwendoline (Laura Matthews) and neighbour Thomas (David Ahmad) move like wind-up dolls, as if to suggest they’re cogs in a predestined series of events.

Simultaneously, other characters accompany their actions with a narrative and the exaggerated stage directions lend the piece a heightened sense of stylisation too.

The atmosphere of Oliver Lansley’s play is a key to its success. Staged in semi-darkness, with pre-recorded creaks and clanks alongside live cello and accordion, it creates a sense of suspense that’s maintained even when some of the plot twists are partially predictable to anyone with a passing knowledge of Poe.

It’s this macabre, mock-gothic mood that stays with the audience and that, along with the cleverly taut writing, is what separates the play from pure homage.

Tours until June 19, details: www.lesenfantsterribles.co.uk.

Susan Darlington