This is a performance that contains absolutely no words, so it is fitting that this show is utterly indescribable for the purposes of a review. Arriving at the top level of the Ezipark on Wakefield Street at 8.30 in the evening, I couldn’t help but feel like I was embarking on some sort of nefarious enterprise, which impression was only increased by the mirroring sheepish looks on the faces of the other audience members as we were led into a lair comprising thousands of strands of… well, Gladwrap.
I am also extremely claustrophobic. Therefore I will admit that the opening ten minutes of Mothlight, which involved what can best be described as a birthing, were among the most uncomfortable in my life.
Mothlight is certainly unnerving in any event, even for those of us who don’t hyperventilate at the concept of confined spaces. Taking place in substantial darkness, this is a mesmerising display of physical exertion and acrobatics, and the breathtakingly raw intimacy of two primal characters.
While Naomi Francis’ every movement was perfectly controlled, Skye Gellman, the creator of Mothlight appeared to struggle more with the physical demands of the performance. However it is impossible to say whether his audible grunts and sighs were accidental, or an intentional enhancement of the difficulties of human physicality.
Without destroying the magic of the performance, it is difficult to describe Mothlight any further.
It is sufficient to say that this was one of the most original events I have ever been witness to, and that Mothlight is one of those Fringe gambles which can pay off or drastically disappoint you. The most unusual stage set, the mastery of the human body and the sheer originality of ‘Mothlight’ means that for most people this is likely to be a gamble which pays off.
Kryztoff Rating 4.5K
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