A tight and spooky production but one that lacks performer connection and character spark. Summary
Rating
Good
The Midnight Caller is a compact production, coming in at just fifty minutes and with its biting scene changes landing us smoothly into the next it holds momentum. Both the setting and devices being used are simplistic yet effective in creating tension and an atmosphere that along with the pace, might just leave you holding your breath.
The space of the Rosemary Branch Theatre, set end on, desk with a lone worker at the helm, head down, is for the most part used well and the whole stage is played with. All three characters only ever communicate through landlines and mobiles, allowing for a split stage play that manages to develop character relationships, despite never having them physically interacting.
A notable moment in the use of this split stage occurs when Judy (Treci Dominique) the best friend to Fiona (Yazmeen Enoch), rests her feet up on the desk in which Fiona is being forced to work at in her lonely office job that she dreams of one day quitting, if not today. This creates two visions in one, that of Judy in her bedroom perhaps lying on her bed and the other of the office walls in which Fiona is confined. It demonstrates neatly the two contrasting environments, one of spooky potential and the other playful and supportive. Symbolically it works as a prerequisite to how these locations might unfortunately become entwined when heading towards the haunting ending of this production, which is effectively done if not somewhat expected.
The dynamic between Dominique and Enoch is fun to watch and brings lightened tones that contrast the darker. Enoch in her performance brings in much needed vibrancy and humour, however, it does overall lack some spark. The cast of three feel as if they are working through the motions of a familiar piece. At times it takes flight, but re-lands back into its old ways.
There too is a great deal of recurring physical pacing across the stage and it is unclear whether that was a director’s choice or the result of the actors not quite connecting to the gravitas of the played moments. Either way this pacing becomes distracting, taking away from both the dialogue and the technical design in the face of building tension.
Charles Eades’ script does its best to develop meaningful character interactions in a short space of time and goes on to achieve this, but particularly towards the end some moments feel forced in order to drive the plot and get us there. However, it still leaves us with a soft feeling of heart ache for what could have been for these characters and of wanting them to be safe.
As a piece of horror theatre it achieves the goal of creating atmosphere and tension and I’m sure, if spontaneity and clarity in moments can be worked on then the horror in this obviously well-practiced machine might just be able to echo out even further.
Written By Charles Eades
Directed by Giulia Hallworth
You can read more about this show in our recent interview here.
The Midnight Caller has completed its run at Camden Fringe 2025.
