Moonlight After Midnight

Carol Sinclair

 

A woman enters an unlocked hotel room to find a strange man staring out the window.  He seems surprised to see her, but as their story unfolds the lines begin to blur on what the dynamic of their relationship really is.  What is real and what is only being played out in the scenes they are creating for themselves?  Written and performed by Martin Dockery who is joined on stage by Vanessa Quesnelle, Moonlight After Midnight is a mysterious puzzle of truth and fiction, love and loss.

It is quite clear the duo has shared the stage before (this is their third two-hander to go on tour) as they play off each other with such ease.  Their chemistry is captivating, and a joy to watch.  As things become more complicated and tensions run high both seamlessly reveal new sides to their characters, but never slip up to give too much away.  Dockery looks as though he was born on a stage as he is so at home in front of the audience.  The awkward and almost creepy nature of his character becomes endearing, and even charming at times, with Dockery’s distinctive performance style.  Quesnelle started the show a little shaky and came to the brim of melodramatic but found her footing quickly.  In contrast to Dockery’s immediate pull, she geared herself up more gradually, and by the end of the show I was completely enthralled with her performance.

This is one of the best scripts I have experienced thus far in the festival.  The details that reveal themselves as the show progresses give a unique portrayal of the complexities of relationships which are too often over simplified.  There is a reason Dockery has seen success time after time at Fringe, and this show is no exception; his talent as a writer and performer and should not be missed.