Clementine Scott — Theater Critic

The metatheatrical style of Midnight feels perfect for someone like Platt, who may be exceptionally talented and the most memorable musical theatre voice of his generation, but possesses a distinctive, vibrato-laden voice that can divide opinion. This is a show where he can play something of a caricature of an esoteric well-known performer, all while indulging his voice’s rich emotional potential and natural comic timing in Mark Sonnenblick’s songs.

Pike is an inherently physical performer, and flaws in the script are glossed over by her constant bounding around the set, morphing from courtroom gravitas to dinner party femininity and back again. Though Glover and McAlinden do get revealing character moments towards the end of the play, this is effectively a one-woman show – an extended monologue, in which Pike lays bare Jessica's powers of observation and hypervigilance about factors outside her control.