★★★

“attempts to cover a lot of ground in a short space of time with mixed results”

Belief is subjective, which allows you to ‘believe’ you are in a forest in Utah and not at The Hope Theatre off Holloway Road. Hessian trees, rostra and a smattering of branches and pebbles complete Rhiannon Binnington’s emotive, pine-fresh set.

Climate activist Isaac (Max Raphael) stumbles into a glade and discovers Meredith (Molly Hanly), a member of a Christian cult that resides in the forest. The unlikely pair quickly form a curious relationship, both wishing to strengthen their connection, but neither prepared to compromise on their beliefs. Meredith, poorly educated and heavily indoctrinated, respects the peace and protection the woods offer and utilises the healing properties of the local pine sap to help her sick sister. She’s as intrigued as she is wary of Isaac, believing him to be ‘unclean’ with sin. Isaac is passionate about the climate and collects data in the hope of improving his chances of getting into college. He pities Meredith but is careful not to patronise her. Through their shared appreciation of the forest, it’s not long before both discover that the other is aware of the impending doom of the planet, be it for very different reasons.

There is a lot to dissect in Eva Hudson’s play. Connection and the sharing of ideas without judgment. Young people, voiceless and hopeless about their future; and how hysteria is used as a weapon to divide and control. With so much to mull over and the slightly off weighting of a 45-minute first act and hour long second act, it’s not surprising that the ideas become muddy in the second part of the piece. The characterisation suffers because of this.

In act two, Meredith and Isaac decide to create their own religion into which the latter is baptised in a heady, evangelical sequence. Isaac descends from this point, becoming frantic in his quest to try and solve the impending apocalypse. As a result, his motives become frustratingly unclear.

Lydia McKinley’s direction makes sure the space is used well and filled by performance, regardless of where the actors are placed.

Raphael and Hanly as Isaac and Meredith have tangible chemistry and both bring an innocence of youth that is vital to the play’s themes.

855-FOR-TRUTH attempts to cover a lot of ground in a short space of time with mixed results. What is clear however, is that when facing the end of the world, there are worse ways to go than being bathed in the light and graced by a hymn from Bruce Springsteen.

PORT CITY SIGNATURE at the Hope Theatre

★★★½

“a riveting, exciting watch”

Port City Signature by Nathaniel Brimmer-Beller is a Noir-styled suspense story centred around the arrival of the naïve Newcomer into the local public house after having missed her train home. The mistrustful Regular and his sex-working partner-in-crime, Lady (Katherine Lea), coax Newcomer into executing a shady deed for them, to help alleviate the targeted extortion they have been subject to from Sheriff, the local, corrupt law enforcer. Will she be able to follow through? Will things get out of hand? Only one way to find out.

The opening of the piece was given space and significance, with the space not always being as alive as it could have been. Set designer Hannah Williams did a marvellous job of creating a dark, dingy boozer that breathed dank ambience into the audience. Although they took their time, the actors initiated some interest in, and raised questions about the characters; somewhat, grabbing the attention of the audience, although not locking them into engagement, even though the story was being told clearly.

This could have been aided by more elaborate and interesting lighting and sound choices, helping the actors truly lean into the Noir style. It would’ve served the actors well to find the lightness and humour in the language and to have fully trusted the well written script of Brimmer-Beller to create the suspense for them.

However, with the pressures of the train arriving and the need for its loud, disguising rattle along the line, the suspense of the piece began to ignite. The given circumstances being expressed well by the trio on stage. The well-found and unshakeable nonchalance of Regular (Paddy Echlin) beginning to slip under the anxiety of the situation.

The capturing entrance of the callous and sinister Sheriff (David Carter) boosted and served the urgency of the scene and, in the first act’s climax, light, sound and performance blended together brilliantly in a crescendo of action. There was some good directorial craftwork and choices from Brimmer-Beller and Phoebe Rowell John, particularly with their choice for regular shootout style triangles, that gave the characters chance to fire their suspicions at each other, while revealing their inner life to the audience. The payoff from the slow build was good and the stakes of the piece were now being truly felt as the power shifted seamlessly into the hands of the unassuming Newcomer (Meg Clarke) who relished the opportunity and led the play ruthlessly to its ending. An unforeseen final twist made the audience feel abashed at having assumed all was what it seemed.

Everyone is a suspect in Port City Signature, with no loyalty between the untrustworthy characters and all ties between them being transactional. After an overly-measured start, the play built and built and built, finding its feet and made for a riveting, exciting watch.

Tag Archives: Hope Theatre

855-FOR-TRUTH

★★★

Hope Theatre

855-FOR-TRUTH

Hope Theatre

★★★

“attempts to cover a lot of ground in a short space of time with mixed results”

855-FOR-TRUTH

Hope Theatre

Reviewed on 13th February 2025

by Michael Rinquest

Photography by Robert Grooms

Previously reviewed at this venue:

ROSIE’S BRAIN | ★★★★ | February 2025

PORT CITY SIGNATURE | ★★★½ | October 2024

THE LEAST WE COULD DO | ★★★★★ | October 2023

MIND FULL | ★★★ | March 2023

HEN | ★★★ | June 2022

100 PAINTINGS | ★★ | May 2022

FEVER PITCH | ★★★★ | September 2021

855-FOR-TRUTH

855-FOR-TRUTH

855-FOR-TRUTH

PORT CITY SIGNATURE

★★★½

Hope Theatre

PORT CITY SIGNATURE at the Hope Theatre

★★★½

“a riveting, exciting watch”