Over the years Guy Masterson has given Edinburgh some marvellous theatre, and more recently in venues filling by hundreds rather than dozens. It is so refreshing therefore to see him return to the intimacy of a chamber play - one whereby he gets to combine some handpicked talent into a powerful cocktail of glamour, suspense and thought-provoking drama.

The subject of this dual monologue is the historical event of the last female execution in Britain - that of Ruth Ellis, hanged by the former Nuremberg executioner Albert Pierrepoint. Gurney-Randall, a skillful author of his monologue, portrays Pierrepoint as a conscientious and thoughtful man who only hardens at a notion of a threat to the procedure. Ellis, meanwhile, is initially stiff-upper-lip witty - some nervous energy simmering under the catseyes. But as the murmuring masses outdoors unsettle Pierrepoint’s cool, Ellis begins to let us in on her maternal fears and her anger at the irony of her fate. Essentially this piece poses a puzzle of three different kinds of killing, and the power of the popular verdict. By extension, the piece as a whole is terrifyingly intoxicating - and its moral up to your own judgment.