The Ebony Frame – Augustine United Church

Based on Edith Nesbit’s story of the same title, Erstwhile Media presents us with Oliver Giggins’ adaptation of The Ebony Frame—the second instalment of work at “One Dramatic Night” in Augustine United Church. Much like the source material, Giggins’ adaptation is an atmospheric and haunting tale in which protagonist Arthur Marsh (played by Alexander Donaldson) inherits a house where he discovers a portrait in an ebony frame. Unlike Nesbit’s original, the subject in the portrait is a man by the name of Raoul (played by Pedro Branco), giving this gothic horror a queer twist as Marsh becomes enraptured by the portrait’s presence. He soon encounters the ghost of Raoul and begins to uncover the torrid love affair the two men once shared in a past life.

Giggins’ writing is enticing, and while I found myself slightly lost in the beginning as someone unfamiliar with the original story, I soon caught up and was swept away into the romance and mystique of this eerie world. The tech design (also by Giggins) was essential in establishing the setting, with ghostly ambient background tracks and a dimly lit stage upon which one could easily be crept up on. At times, the only light source came from a handheld lantern that emitted a sickly, unsettling glow on the actors’ faces, further deepening the ambience.

Beth Eltringham’s direction perfectly captured the gothic tone. With make-shift arches and sheets, the use of space cleverly broadened the scope of blocking possibilities, creating clear and distinct changes in setting. Not only did Eltringham’s work as director stand strong, but her acting as the very cockney Nurse was well embodied—both humorous and reprimanding. At times, the diction could have been clearer, especially when employing such a broad accent, but her hard work in all of her roles in this production was apparent.

Donaldson was a strong protagonist, leading the story with confidence as he shifted from noncommittal sap to overwrought, paranoid, and hysterical. Playing Donaldson’s wife Ida Helmont and servant Jane, Cosette Bolt leaned into the more humorous sides of the play, with her physical comedy as Jane and her frenzied, overexcited rendering of Ida, who seemed to thoroughly irritate Marsh. This contrasted perfectly with Pedro Branco’s passionate and refined performance as Raoul, who worked beautifully with Donaldson to enact the forbidden love story.

Finally, Finlay Allan was completely run off his feet, playing four characters ranging from disgruntled mother to creepy gravedigger. Both Allan and Bolt provided light amidst the dreariness of the piece, creating an ideal tonal balance.

In all, The Ebony Frame was a very enjoyable watch. The production achieved exactly what it set out to do: with a strong cast and an even stronger vision, it translated excellently from page to stage, aligning itself tonally with the original story while also bringing something new and interesting to the table.

Reviewer: Jessie Martin

Reviewed: 8th November 2025

North West End UK Rating: