The Fall of the House of Usher - a study in mood (Belfast Ensemble at Lyric Theatre until 24 June)

The first rule of Belfast Ensemble is to expect the unexpected. In fact, they’d never be so derivative to steal someone else’s strapline. But it’s never what you’d expect.

I described one of their previous productions as “genre-busting” and it’s true for their new work, The Fall of the House of Usher.

Taking Edgar Allan Poe’s short story as their inspiration, the collective have created a visual and aural treat that suggests and confuses and amazes and challenges.

But what continues to set Belfast Ensemble apart from other theatre-makers is the way that the lighting, sound, set and acting all have equal billing and equal effort going into them.

Empty wooden frames hang down over the raised stage (that itself contains a belated surprise). The frames suggest that we’re looking through different windows into Usher’s life, an analogy used very effectively by the priest who conducted by late-Aunt’s funeral last year.

Seven musicians set the mood of Usher (Tony Flynn) who paces up and down the stage with the poise and purpose of a ballet dancer. Voiceless, but not without message, he examines his late sister’s belongings that have been packed into a suitcase. Distorted video projections are caught on the actors’ white painted faces while a recorded narration tells the story.

Abigail McGibbon – the only cast member who speaks live on stage – play’s Usher’s sister. Like an intense banshee wrapped in a red cardigan she powerfully spits out her words, adding to the sense of mental distress, throwing up the possibility of foul play.

Matthew Cavan tends to Usher’s corporal needs, with the placid actions and reactions at odds with the brooding tension that wordlessly is created between the characters.

Three or four different lighting scenes use height to change (and sometimes eliminate) the shadows cast by the frames on the stage while projectors map solid blocks of light onto the floor. And watch out for some clever trickery that turn Tony Flynn’s trousers and shoes purple.

Conor Mitchell’s score expertly weaves over someone’s cover of Oh Lord, won't you buy me a Mercedes Benz? It’s a beautiful moment, complete and fulfilling, one among many in this hour long performance.

The story of grief, upset, fear and instability is a study in mood. A demonstration of what’s possible when a group of people let their imaginations run wild and find new ways to express old stories.

It’s not an uplifting piece of theatre. The plot is creepy, the characters are sinister, and there isn’t really a moral backbone upon which the story can rest. However, The Fall of the House of Usher is stimulating and disturbing and a quality example of a contemporary musical horror book adaptation that you couldn’t have predicted would be so satisfying to watch.

Belfast Ensemble’s The Fall of the House of Usher continues at The Lyric Theatre until Sunday 24 June.