Moth – The Hope Theatre, London

Writer: Matt Wilson

Director: Claire Cole

Moth takes place in a world that has recently suffered a physics-based apocalypse in which 77% of the Earth’s matter has been pulled into something like a black hole. Eight years later, and Meredith Latimer, part of this 77%, finds himself returned to existence. How has the Earth changed? How has he? And why exactly has he returned?

This is a play with a strong central premise. Following an accident in a particle physics lab involving a tachyon, a ball of string and a moth, much of life as we know it has been destroyed. Objects have disappeared, landmarks, buildings, people – one character even finds that her arm has simply vanished. The survivors must carry on, holing themselves up in various bases where they create a new society. Meanwhile, scientists must riddle out what happened and how to stop it happening again. They are given an interesting angle when presented with Meredith, someone sucked into the black hole who has found themselves regurgitated eight years later. It’s a play that manages to explain the science behind the catastrophe and present how human dynamics could change in response.

Meredith (Joseph Vause) is a bit of a simple soul. He’s drifted around in life with a vague desire to be thought important and is rather baffled by being thrust into a strange new world. He’s questioned by Scientist Nikolai (Will Osbon), who seems to be channelling Matt Smith’s Doctor. Meanwhile, Jonathon (Matt Wilson) and Tommy (Charlotte Powell) come together as survivors and grow a child-parent bond and Effy (Connie Peel) and Sadie (Ezri Mannion) become lovers. Things are further complicated because, despite all the people who have disappeared, Sadie and Robert both know each other and have intimate relations with Meredith. In a world of quantum destruction, is there such a thing as coincidence?

The play begins energetically, with choral voices, flashing lights and music. The actors present what the quantum event felt like as they weave around the space trailing strings, creating a cat’s cradle. The rest of the scenes are quieter though. The punchier ones are Nikolai’s interrogations of Meredith, while the scenes between the other survivors often involve awkward, circular conversations. As the play progresses, the interpersonal relationships come to the fore despite the fact that issues of girlfriends and boyfriends seem very minor when compared to the annihilation of much of Earth.

What ends up killing the play is its length. At over three hours, whatever energy and interest built up by the premise are worn out by the end. This is not helped by the fact that many of the characters start to monologue as the play goes on, neither is it helped by the fact that most of the actors stumble over their lines towards the end – though at three hours of constant talking, it’s easy to forgive them. Characters that had intriguing relationships at the start, grow to have anti-chemistry by the end, where they um, ah and talk at each other for long stretches at a time. As the play is staged in the round, it’s hard to ignore audience members checking their watches, sneaking glances at their phones and even napping, especially as Moth grinds through its second half. To cap it all, a number of the scenes near the end could serve as denouement and the feeling of frustration is palpable when yet another scene starts.

Moth is an interesting premise, with some interesting characters that would work better as a novella than a theatrical presentation.

Runs until 2 December 2023