Review: 855-FOR-TRUTH, Hope Theatre

In life, we constantly question what we believe. Our votes, our morals, our beliefs, all questions we cycle through on the daily. What if we, inherently, close off our minds to the other way? Perhaps the potential end of the world can bring out the truth? All questions we delve into during Gentlewomen Production House’s newest play, 855-FOR-TRUTH.

What would you do knowing you had six days until the end of existence? Would you run home from miles away to be with family? Convert all of your beliefs to a new way of life? Throw away all you’ve believed in for a random girl you met in a woodland area in Utah? A bit specific, sure, but that is the question facing Isaac, a young environmentalist set on the task for ‘The Project’, and Meredith, an 18-year-old whose entire life was suffocating in a religious cult. 

Written by Eva Hudson and directed by Lydia McKinley, 855-FOR-TRUTH has a script that psychology students would base their whole dissertation on, and direction that sucks you into the centre of the characters’ universe - all to ask ourselves, what do we actually, fundamentally, believe in? At our very core, what is it we desire most?

Max Raphael as Isaac was a beautiful mix of youthful angst, sarcasm, and existentialism. A truly captivating performance from the actor, who had the audience in the palm of his hand - especially during his brutal monologue towards the end of the play. The scene balances what Isaac knew to be true with what he hadn’t even considered in a masterful delivery from Raphael. There was never a moment in his performance where I did not believe him. He lived and breathed Isaac - a stunning presentation of talent from him. 

The role of Meredith was played to perfection by actress Molly Hanly. Her youthful spirit, ambition, and desire for a new life (all while trying to do what is ‘right’), was at the core of her portrayal. Her ability to truthfully flow through the emotions was astonishing to watch - a very joyful experience that had my heart breaking over and over for her. As an audience member, I felt the need to protect Meredith, albeit it couldn’t actually be done - it just further deepened the connection across the fourth wall. Stellar work indeed.

Hanly and Raphael’s chemistry was a match made in casting heaven (so to speak), a frankly dynamic pair. 

Hudson’s writing had me second guessing everything I thought I knew going into the play. Just when you believe you know where the plot is heading, and that maybe it cannot get worse for Meredith in particular, it does, and it’s done in a way that drags you down emotionally with the characters. Incredible scriptwriting from her, a deeply mesmerising watch. 

The direction by McKinley cannot go without commendation. From the atmosphere, to the physical comedy and trauma, McKinley put audiences through their paces on where the flow of the play would lead us to next. Extremely dedicated direction, used to work with and for her cast, rather than expecting them to match a mould.

Rhiannon Binnington’s design for the set is something that stayed with me well after the performance ended. The simple, but harrowing, use of trees, rustic lighting, and sounds to create an environment so familiar, yet alien, was the cherry on top for this production.

All in all, this production is a prime example why artists should never be made to feel like they should wait for someone to make something for them to be in. Make, create, and showcase what you believe. This piece was everything I needed to watch on Thursday night, and has given me many questions to sift through. 

But if you take anything at all from this play, just listen to the young - I fear we know more than we’re led to believe.

A wonderful play that deserves a lot of love.

855-FOR-TRUTH at Hope Theatre until 26 February

To post a comment, you must register and login.