The Alexander Clegg studio is a small space, providing an intimate experience and connection between actors and the audience. Upon entrance to the studio, one could not help but notice the persistent ticking sound, which continued throughout the rest of the play. This was a haunting reminder of the passage of time as the play continued and a constant reminder of our mortality and impending death. Strewn across the floor were several pairs of abandoned shoes. Look up, and you could see more shoes precariously dangling from the ceiling from thin pieces of elastic. When the audience returned to the stage, they may have noticed eclectic objects placed randomly: a feather boa, a mask, a toy sword, and a pair of boxing gloves. It was safe to say that I was both baffled and uneasy at this setup; my anticipation rose with every tick, tick, tick.
Two figures dressed in blue overalls cleaned the stage before the audience was thrust into a blackout. When we emerged, we were addressed by the suavely dressed and assertive Five (Daisy Smither), who informed us directly that we had, unfortunately, passed away. From there, the play’s premise was explained to us: we had died, and we had to choose one memory, one which was ‘most precious or meaningful’ to stay in when we passed.
The plot began on a Monday. We were introduced to both Guides and to those who had recently died and would be choosing their memories during the coming week. It was the job of Guides One (Lily Coonar), Two (Cayden Pether), Three (Tabby Hobson) and Four (Phoebe Nichols) to aid the recently deceased as they recreated the memory their clients wished to exist within forever.
The play’s concept spoke to the audience directly as we began to reflect on our lifetimes and memories. What would we choose? If we existed in one memory forever, what would the memory require for it to be what I wanted? Love, joy, laughter, relaxation? Indeed, I found myself pondering on these questions throughout the remainder of the performance. The audience’s feelings and thoughts were engaged and linked with the play’s themes, reinforcing its emotional intensity.
The play introduced us to those preparing to pass into their selected memory due to their recent death. The introduction of the friendly and perky teenager Jill (Emma Heap) provided a poignant reminder of how death can snatch away the lives of such vibrant and young individuals. Yet Jill’s enthusiasm continued even in their purgatory. Jill leapt, bounded, and skipped around the stage with as much enthusiasm and verve as an alive teenager. Heap’s performance created a likeable and vibrant character.
However, the focus of those who had recently died was the character of Beatrice (Evie Yates). Yates depicted her character as a haggard elderly woman spectacularly. Her every weary facial movement convinced me further that before me was an elderly and solitary woman. When the audience learned her heart-wrenching cause of death, her doddery and forgetful exterior was removed to reveal a beautiful past filled with memories she cherished.
Hector (Joe Ryder) was another excellently portrayed older man. Again, each small gesture showed a fatigued body and mind. As the play progressed, it was heart-warming to see Hector transform from a sapped and despondent character to one who found much joy and solace from one of the Guides and their linked pasts.
Oli (Arthur Bell) is arguably the most intriguing of the Guided. His unwillingness to choose a memory was dismissed as his rebellious and contrarian nature. However, Bell did a wonderful job of playing a young boy who had faced much hardship, where his memories were the one thing he wanted to escape. His liberation from his restrictive and difficult Life was a reminder that, for many, death is a relief which may provide a new life for those who have suffered.
The Guide’s personal journeys were also hugely compelling. Their unwavering amiability and cheer were stripped to reveal emotional depth and clues about their Life. Before, they ended up in a job where they provided joy for others and never seemed to gain any for themselves. They spent their days working tirelessly to create the illusion of a memory for those about to pass. The story of Guide Two was one of much interest. Pether portrayed the perfectionist Guide brilliantly; his eager-to-please attitude consistently marked him as the group’s star. However, his stringent fastidiousness started to unravel when he met Hector, consequently revealing the sensitive human he once was in his Life.
Ultimately, this was a beautiful performance. Director Isaac Reuben successfully executed a play that was equally moving, philosophical, and witty. Complex themes throughout were sensitively navigated, with each intense section punctuated with light-hearted comic relief. Live music, choreography, and, of course, the stunning performances of the actors all ensured that this was a fantastic piece of theatre. In one of the play’s final striking moments, layered voices recalled their most precious memory. This created a polyvocal and powerful chorus, reflecting on a moment of pure satisfaction and joy within their Life. The play’s nostalgia and emotional charge seemed to amount to this exquisite cacophony, a final moment of catharsis.
Thought-provoking and tender, this is a wonderfully insightful and original play. It dealt with musings on what happens after death in a light but moving way, without ever becoming too heavy or overwhelming. Writer Jack Thorne created a perfect balance, which left the audience feeling both touched and enlightened. Undoubtedly, the audience will leave with a new appreciation for those small fragments of memories that often go unnoticed and yet bring us so much joy.
Writter by: Daisy Morrow
Edited by Aimee Missen: