Ruby Moon’s narrative structure can be described as episodic. This episodic narrative is significant to the character development and to the advancement of the plot through several ways. The episodic narrative slowly gives away the many paradoxes of Ray and Sylvie, and reveals these two main characters through Dulcie, Dawn, Sid, Sonny Jim etc. The condensed format of the play allows the audience to grow organically alongside the characters, slowly developing in front of their eyes. It also advances the plot by showing the audience the warped reality of Ray and Sylvie in their own world, and lets them decide different interpretations. Brecht’s techniques are a by-product of his environment. His theatre is best described as a dramatic vessel of rational didacticism, influenced by his Marxist beliefs. One Brechtian technique used is gestus. Gestus is used in the play to define the emotion within the character and the context they are in, such as Dulcie Doily and her fanatic religious views and her nonexistent talking parrot. The breaking of the fourth wall is also used but not in direct contact with audience, but an awareness of being watched such as when Sonny Jim recites he’s poem. Aspects of the play could be considered didactic, making the audience aware of the dangers of children disappearing and the mass hysteria that comes with these disappearances. A fractured fairytale is a fairy or folk tale that has been modified in such a way as to make us laugh at an unexpected characterization, plot development or contrary point of view. Ruby Moon falls into this category through the various archetypes played by the two actors. By taking these archetypes and giving them humourous undertones, the archetypes can be seen as the different faces of Ray and Sylvie. It also threatens something deeply primal within each of us, and begs the question- how well do we really know our neighbours, or even the people living under our very own roof.