Tom Rhys Harries is hanging from some ceiling pipes, wearing a sequinned jacket. I'm having flash backs to when he played Silver Johnny in Mojo but here the boot is firmly on the other foot. In Mojo he was an innocent victim, in Pitchfork Disney he is a charming threat in fact his performance reminded me a little of Ben Whishaw's Baby who tortures Silver Johnny.

Here he plays Cosmo Disney, hair bleach blond, shaved at the sides and quiffed, with dress shirt, bow tie and sequinned jacket. He's a performer but as this is a Philip Ridley play his is a macabre and stomach churning act.

Cosmo turns up sick at the house of siblings Haley and Presley (Hayley Squires and George Blagden) where they live in almost perfect, self-induced isolation, eating only chocolate and entertaining each other with retelling the same stories. Cosmo disrupts the routine and you can never quite tell whether his motives are good or bad and then his associate Pitchfork (Seun Shote) turns up. Is the terror about to start?

If you've seen Mercury Fur, Fastest Clock in the Universe or Tender Napalm you'll have an idea Philip Ridley's poetic, metaphorical style. He gives an impression of a dystopian world outside the house without ever explicitly describing it. Haley and Presley talk of their dreams and nightmares so how can you tell what is real and what is part of their imagination? And if it is imagination it chocolate coated-macabre, where things are not quite right and not quite off. There is a pervading sense of disquiet as the plays slips from child like innocence to horror in the flick of a grass snake's tongue. Dreams can turn to nightmares so can you ever truly escape?