Writer: Candice Mac, in collaboration with James Lyon
Director: Candice Mac
The latest creation by Other Mysteries Theatre seems unsure of what kind of play it wants to be. The one-man show, starring co-writer James Lyon, takes to The Hope Theatre in Highbury to meander comedy, absurdism, mental illness and maudlin self-pity.
James Lyon is Robert Moor, an ex-soldier living in isolation on Moor Island. With a collection of anthropomorphised rubber ducks as companions, he goes about his day, hiding from the monsters that threaten to disrupt his solitude.
Lyon is good generally, keeping the audience on their toes. The set is simple and works well; a one-man tent, a few tins of beans, a copy of 1984 and a collection of rubber ducks. Think Jerusalem. The soundtrack is largely Scotland the Brave. Flashback stories of Moor being forgotten and alienated by society pair well with the present-day sections.
However, the play gets lost between genres. It becomes quickly obvious that Lyon’s character is mentally ill, making the humour feel unkind, at times bordering on offensive. Early on, we are introduced to Jemimah, Moor’s rubber duck companion. This is possibly supposed to be funny, but feels like watching an abusive relationship. Moor’s increasing volatility makes for difficult watching. At best, it could be compared to something like John S. Baird and Irvine Welsh’s film, Filth, but more often than not, it misses its mark.
Lyon struggles to make Moor relatable, and the play is thus stuck between a comedy, a psychological thriller, and a documentary. The acting is good on the whole, but the direction is weak. Having a potentially aggressive character attempt unsolicited audience participation could be an interesting look at pushing the boundaries of theatre, just like a light-hearted hour about a man stranded on an island could be fun. The Island of Moor is stuck somewhere between the two and suffers because of it.
Moor is loosely based on a real man, and a newsreel soliloquy towards the end briefly explains the origins of the play. Rather than delivering a satisfactory ending, it leaves the audience baffled as to what the motivation behind this play is.
Runs until 28 March 2026
