Questions that might be hard to answer by just reading the text once, but as you go on further in investigating and taking a closer look at the text, determining the contradictions and oppositions, you will be able to find the evidence that may answer the queries that arise.
This short story raises a number of questions from readers. The short story The Tell-Tale Heart is no different.
The blood and gore, when it comes, is schlocky and the horror is at its best when the drama drifts into playing mind games with reality.The works of Edgar Allan Poe take reading to a higher level for, in no denial, his craft requires an application of higher intellect. There are also a few too many theatrical in-jokes (irate men from the National Theatre leave Camille phone messages about missed deadlines), though these are quibbles over Neilson’s otherwise pacy, clever and funny writing. Neilson’s script works well for the most part, though the humour delights in its own crudity with toilet and porn jokes. Nigel Edwards’s lighting and Nick Powell’s soundtrack is used to brilliantly creepy effect, making the audience jump. But this simple set becomes protean as the play slips and slides into its altered realities, with lightning sparks, puffs of smoke and suddenly moving props to amp up the thrills and spills. Photograph: Manuel Harlanįrancis O’Connor’s stage design for Camille’s attic room features a bed, a skylight and an old-style typewriter. David Carlyle as the detective and Tamara Lawrance as Camille in The Tell-Tale Heart.
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