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The theme, “What makes a murderer?” usually evokes grisly tales of Jack the Ripper or Sweeney Todd type characters, exploring their inner psyche penny-dreadful style. Molly brings something innovative and new to this mammoth question. It’s structured as one-third performance, one-third interrogation, one-third therapy session for its main character.

Some elements are clinical and 1984-esque, from the grueling interrogators to the ticking digital clock that spans the width of the stage. Some elements are pure theatricality, with liberal use of props, costume changes, and “MOLLY” spelled out in huge letters across the stage. Such an amalgamation of styles runs the risk of being busy and jarring – but it completely works, and we buy into this weird trial-like setting. We are also encouraged to applaud as she enters the stage. Molly instantly capitalises on the public’s fascination with psychopaths, and the effect is harrowing and mesmerising.

As Molly relives her life, we experience it too – and the tragic ending is only hinted at, not explicitly foreshadowed. I like this about Molly; we know that things will go awfully wrong, but we can only guess how and when.

What’s scary is that we all know someone like Molly. She’s different, yes, but she’s not so far removed from members of your own life as not to be recognisable. We all know people who manipulate and lie, not to mention the ferocious ambition that can be found in any workplace. Molly’s descent into a sociopathic disposition isn’t unjustified; childhood bullies and dismissive parents feature, both common ingredients for a troubled adulthood. And the cast play all their roles perfectly, whether they are primary school children or adults in a business meeting.

The set is genius with its circus ring feel, where Molly becomes the tormented animal, forced by her four interrogators to reveal her darker memories. It’s as if she is experiencing PTSD with the way her voice chokes upon recalling the stories, and weirdly, we do feel sorry for her.

And when at the end Molly accuses us of only being there to make ourselves feel better, there is a haunting degree of truth. To some extent, she’s right.

Molly is playing at the Pleasance Courtyard (Venue 33) until August 31. For more information, visit the Fringe website.