Beneath the Bone Moon
Smock Alley Boys School
*

Judging by its self-consciously transgressive subject matter, Beneath the Bone Moon aims to be shocking, and shocking it is indeed, though possibly not in the intended manner. Written by Patrick Karl Curley (who also performs) and directed by Declan Drohan, it is a psycho-drama in every way, as it delves into the feverish memories and motivations of an obsessive and ultimately homicidal protagonist (Ultan Burke). As his twisted mindset is explored, no device is left unused, from dramatically incanted monologues, stylised acting and blood-red lighting to viscerally explicit language, a Mr Hyde-like id (Curley) and, of course, a passive female object of desire garbed in virginal white (Emma Dobbyn). It's possible this is meant to be tongue in cheek: in its set, costume and lighting there are creepy, slightly camp echoes of Hammer Horror movies, while John Daly's musical backdrop is eerily atmospheric. But as the cast cut between different characters and accents, an aching earnestness stymies any ambitions of edgy subversion. Worse, queasy elements of sadism and misogyny dent any hope of so-bad-it's-good redemption, as the play revels in the kidnap of a young woman, and re-imagines the motives of the Moors murderers. Still, at the very least, Beneath the Bone Moon is the kind of grand failure that stands out from blander Fringe fare. It stays in the memory, no matter that one may want to forget it. Until Sept 19