A Ghost Among the Living *****

Edgar Allen Poe was an acclaimed American writer from the first half of the 19th century. He is well known for his Gothic Horror style of writing, poetry and examination of the macabre.

Acclaimed in a rather different way are Box Tale Soup, who have graced Edinburgh Fringe for more than a decade - among their triumphs Casting The Runes, Gulliver and 1984. Their reputation is for high quality dramatic performance fused with skilful set design and intricate puppetry. And so we come to this year’s offering, A Ghost Among the Living.

A scholar (Noel Byrne) takes to the stage to present aspects of Poe’s works. Given the subject material, we can expect the macabre and the supernatural. Yet he appears to be unsettled, apologising too many times. Something seems off. Fact and fiction appear to blur, as his presentation is interrupted, or aided, by a mysterious companion (Antonia Christophers). Who – or what - is she? And what does she want?

Byrne and Christophers re-enact scenes from several of Poe’s works, with the scholar providing a narrative thread between them. The Tell-Tale Heart opens proceedings, in which an old man is murdered by the narrator of the tale. The Cask of Amontillado follows, in which a man is lured to his death by the promise of fine wine. Ligeia recounts how a narrator loses his wife, remarries, watches her also die and return from the dead. In The Masque of the Red Death, Prince Prospero attempts to avoid a particularly virulent strain of the plague by retreating to an abbey. The Raven punctuates the production, with a narrator encountering a raven that answers every question with the ominous “nevermore”, and casting a shadow over his mortal soul.

One of the hallmarks of the company’s production ethos is the use of reclaimed materials to create their set. This is far more than an aesthetic choice: the set drives the narrative, supporting their eye-catching, fluid and precise movement, directed by Mark Collier. The set shifts and evolves throughout, enabling the various stories to unfold. The myriad puppets are exquisite, effectively becoming a third member of the cast.

Christophers’ singing – of original music - is also noteworthy, punctuating the dialogue and acting simultaneously as a counterpoint and accompaniment to the macabre events being revealed.

However, this production revolves around the abilities of Byrne and Christophers, who, once again, deliver a performance masterclass.

Pleasance Dome until August 31st.