Well-written, beautifully produced, and ever relevant, ‘855-FOR-TRUTH’ shows us that the truth lies probably somewhere in between.
Eva Hudson’s ‘855-FOR-TRUTH’, directed by Lydia McKinley playing at the Hope Theatre, follows an aspiring but worried young climate scientist and an obsessive yet charming 18-year-old Christian cult member as they navigate through their different life approaches facing the same problem: the world actually ending in 6 days. We find the two, Isaac (Max Raphael) and Meredith (Molly Hanly), when they accidentally meet in the middle of the woods, and join them in their attempt to understand each other and the cosmic phenomenon approaching; both topics proven equally confusing. In the span of almost 2 hours, the play explores the intricate dynamics of the contrasts and parallels between science and religion, the power of blurring the lines between them instead of picking one or the other, the intense human need to make sense of the world and the utter frustration when we fail to do so.
The very first aspect that captures anyone’s attention and immediately lured me in is the gorgeous set: an audience-surrounded forest of fabric trees hanging from the ceiling and beautiful lights peeking through the semi-transparent trunks. The use of lighting throughout the entire show is all-over great (although a flashlight did blind me at some point), and in combination with sound and music creates a genuinely alluring atmosphere. It absolutely feels like we are in the forest; and yet still, we fully get the sense that Isaac and Meredith are completely alone in there, thanks to the actors’ beautiful commitment, deep engagement and chemistry with each other. The quick witty dialogue is delivered masterfully and hilariously with great rhythm that makes it impossible to lose engagement, highlighting the contrasts of opinion and lifestyle between the two characters but also how they naturally fell for each other. And right when you are about to think that the fast and funny back and forth has gotten a bit tiring, the tone and pace beautifully switch into slower, deeper dialogue and more grounded scenes. Even moments of silence are incredibly impactful. Both performances are solid and enjoyable, making the audience immediately root for the two characters, and wanting to watch them interact for hours. Raphael (playing Isaac) is immediately lovable and charming, and then deep and touching when he opens up later in the play. Hanly (playing Meredith) is hilarious, delightful, and just simply a joy to watch; she could probably convince just about anyone to join the cult.
My only note would be the slight sense of rushing and iffiness in the second act. Perhaps lost in the quick dialogue, perhaps not elaborated upon enough, but ‘The Project’ that Isaac was trying to make sense of felt not thought through enough. The energy also did seem to drop a bit in certain moments, for a while it felt like we’d lost sight of what was important, and the ending seemed just slightly anticlimactic. There had been such gorgeous build-up throughout the entire show, only for it to be done almost out of the blue, which I believe to be a direct effect of the moments prior to it being dragged more than needed. Still, no less impactful.
The show ends before you know it, and before you’re ready – that’s the easiest way to explain how engaging and absorbing it is. And yet you leave fulfilled and satisfied, and definitely in thoughts and reflection. There is a lovely balance and beautiful parallels between the two characters and perspectives, that allows us to very clearly see that no matter what side we may lean on, we lean on it due our inevitable human habit of wanting to explain the inexplicable, and understand the world. Regardless of whether we do it out of curiosity, ambition, fear. Even if both characters take their values to the extremes, they very much stem from a place of truth and humanity, and so does their curiosity to explore the opposite side. Well-written, beautifully produced, and ever relevant, ‘855-FOR-TRUTH’ shows us that the truth lies probably somewhere in between, and teaches us that it may not really matter an the end of the day, so we might as well open up our eyes and give all sides a chance.
Runs at the Hope Theatre until 22nd February.