Review: The Island Of Moor, The Hope Theatre

We have all experienced some form of isolation, either by choice or through necessity, but usually only for short periods, and with the rest of society easily within reach – unless some terrible, world-changing event has occurred. The Island Of Moor follows a mysterious man driven into isolation by such a situation. When the truth behind his intriguing life is uncovered, the reality is more fantastical than anyone could have imagined.    

The charismatic, if unbalanced, Robert (James Lyon) has been living alone on an island for three years, with a small collection of ducks for company; they are good listeners, though the conversations are one-sided. One morning, he is surprised to discover visitors (the audience) on his island, fellow survivors of the apocalyptic event which has sent him into isolation. Our gracious host entertains his guests with the engaging story of his life, both on and off the island; his past experiences having provided good training for the constant guard against the monsters which surround the island. Robert also writes letters to the beloved and mysterious ‘Her’, as he diligently obeys her cryptic orders, but for what purpose?

Creators Candice Mac and Lyon quickly establish Robert as an engaging character, both charming and relatable as he gradually relearns how to engage with other people, but with growing signs that his extended isolation has taken its toll, leading to a sense of unease about him. Lyon is a captivating storyteller from the moment he groggily staggers from the tent, constantly moving around the stage to engage with the audience in both friendly and erratic manners. Mac’s well-balanced script continues to establish the mysteries of the present – what has happened to the world? What are the monsters? Who is ‘She’? – using the stories of Robert’s past to provide glimpses into his mindset.  Whilst there are a few clues to narrow things down, you can never be sure of how much of his reality can be believed or what has been distorted by his own suspicions.

The single focused location allows Mac and Lyon to fill the set with details that bring Robert’s small world to life, even before we meet him. His battered tent is surrounded by well-used cooking equipment, ragged clothing and books, which tell of his hardships. The ordered line of rubber ducks is clearly what he cares for the most. Likewise, the costuming effectively conveys Robert’s character; the sturdy cargo trousers and utility jacket are practical choices for a survivalist, whilst the tweed flat cap and colourful neckerchief hint at his jovial, gentlemanly nature.

Mac’s atmospheric sound design establishes both unease and whimsy; events can change as suddenly as Robert’s mood. A military drumbeat accompanies Robert’s patrols, while a haunting soundscape creeps in as he retreats into his tent to escape the monsters; the range of heightened animalistic noises makes his terror understandable. His mood swings are enhanced by Rebecca Lyon’s lighting, the stage brightening when he is optimistic, and darkening as the paranoia takes hold. The passing of several days is creatively conveyed by spotlights representing the sun and the moon moving across the wall. 

The fun of a good mystery lies in considering and discarding theories as new details are slowly revealed. On the Island of Moor, no matter how extreme or otherworldly that theory may be, the truth can be just as strange as fiction.

Writer & Director: Candice Mac
Music & Sound Design: Candice Mac
Creators: Candice Mac & James Lyon
Producer: Other Mysteries Theatre
Lighting: Rebecca Lyon

The Island Of Moor plays at until Saturday 28 March