Gothic horror may not have begun with Edgar Allan Poe but his work certainly brought it to mainstream literature. No-one needs a degree in literature to have not heard of at least some of his work – even the Simpsons devoted an episode to him. Finding inspiration in his work of death, memory, dreams, madness and transience, A Midnight Visit places Poe’s work front and centre.
Taking over a multi-level office space due for demolition for yet another apartment block, just a very short walk from St Peters station, Kirsten Siddle, Danielle Harvey and Simon Hayward form the production team which bring you (or take you into) the immersive, interactive experience which has been inspired by Poe’s work. The building has been expensively and atmospherically collaboratively designed to form a series of rooms and spaces, each referencing Poe’s work (such as a room with a tell-tale beating heart beneath the floorboards) and peopled with characters from his poems and stories. The Undertaker warns you, at the beginning, not to speak or participate unless invited. With good reason – those few patrons who did not comply by talking and commenting loudly certainly affected the atmosphere. Go with the request, audience! Respect the performance.
Even Poe himself (James Raggart) wanders the rooms and corridors, shadowed by the Raven (Jonny Hawkins). We are all ushered by the Ushers (Jason Winston and a flexible Bri Emrich) and other characters around the experience, following the players as they enact much of Poe’s work. If one dares goes where one shouldn’t (or at least, not yet) , one is turned back with a cry of Nevermore! from a grieving widow. Costuming and make-up is exquisite. Talent abounds – Caitlin Drysdale as The Black Cat, Drew Fairly as The King; a songbird Virginia played by Bobbi-Jean Henning and a chilling Ligeia played madly by Hannah Raven.
Before or after, one may indulge with a nice drink in the bar area where you can explore your anticipation or share your experience.
This is a brave and well-thought through venture. There is nothing shabby or second-rate about its presentation. At times, I found myself a little lost, unsure of what I was supposed to see next or where I should go. I missed a couple of performances unfortunately and it seems they are not repeated. To repeat would give a sense of these poor people being caught in a never-ending cycle of their own misery.
This brings me to something of a hobby horse of mine. Writers, when they write, write in their own accent – especially in poetry. Australian accents are terrific for Henry Lawson and Banjo Paterson but detract a little from the work of American poets or English poets. 
Something of the flavour is lost. Robbie Burns best with a Scottish accent and so on. The very talented cast of A Midnight Visit may have been even more compelling with a generic Bostonian accent.
This is a different theatrical experience although not as uncommon as once was. I remember something in a Roman crypt decades ago … and it is wonderful to see producers, directors and actors refusing to be dictated to by the confines of a proscenium arch and 1960s expectations. This is what theatre should be doing all the time, challenging, exploring, developing and expanding the form of theatre.
Easy to get to by train. Fairly good free parking in and around. And you don’t have to go at midnight to have a midnight visit.
A Midnight Visit run from 4 October through to Sunday 9 December 2018.
Kate Stratford – On The Town.
