Twilight on Midsummer’s Eve, the shortest night of the year, brought Nightfall to CPT. It’s a time-specific performance, set across the border between day and night: what cinematographers call magic hour. And no matter that thick cloud cover meant that there was no visible sun to set; or that the sick-slicked streets of Camden are not exactly Stonehenge; this was a sparkling, seductive and ultimately unsettling piece that created real magic of its own.
The show is an investigation of the twilight hour: we get live updates from the street outside as the light begins to fade; a demonstration of the official definitions of darkness; a psychic autopsy on Londoners as they cross the line between their day- and night-time personalities; and there are monsters lurking in the darkness that led to some clutching of arms in the audience. This is wonderfully innovative theatre: a washing line across the stage becomes first the horizon, then a timeline of the night; a delicate, spinning moon on a stick becomes a rebellious member of the cast; and a cheerful dinner party chills into a shudder, and an ending that was truly something of the night.