FOREVERLAND at Southwark Playhouse Borough

★★★★

“a gorgeously heartfelt and intimate story”

Most of us have a gut reaction to the question ‘Would you like to live forever?’ But once it subsides, we discover that it is impossible to answer. The quandary is as old as life itself: nobody wants to die, but nobody wants to live forever either.

The recent progress in genetic research has allowed scientists to discover ways of slowing down the ageing process. Without trying to go into detail (and thereby revealing the extent of my ignorance) it has something to do with cellular reprogramming and altering molecules that turn DNA on and off. A bit like restarting a computer. It works on worms. And mice. This is science fact. Enabling humans to live forever may still be science fiction, but only for about another decade, according to Emma Hemingford’s stylish and imaginative new play “Foreverland”.

There is the danger that tackling such a subject can lead to a rather dull essay involving the characters discussing abstract concepts. But Hemingford avoids all the potential clichés and truisms, and instead weaves the complexities and conundrums into a gorgeously heartfelt and intimate story. One that centres on a romantic relationship that is instantly recognisable and relatable.

Jay (Christopher York) and Alice (Emma McDonald) are a couple in their thirties, about to embark on treatment to prolong their lives – perhaps indefinitely. It is a fairly risk-free surgical procedure, but pre-op nerves are kicking in. The treatment is irreversible. But there is a ‘get out’ clause later down the line. Both York and McDonald capture this essence perfectly in the opening scene, with humour and poignancy. Aided by Valerie Antwi’s deliciously cool and mockingly sympathetic Doctor Lane, we get a clear insight into the bonds, and the cracks, in their marriage; along with subtle, almost invisible, hints as to how the drama might unfold.

Director Frederick Wienand guides the play’s characters through specific leaps in time with effortless artistry. We fast forward a few years in a matter of seconds; scene changes flashing before us indicated by the performers’ evolving mannerisms and inflections, like the rapidly moving hands of the clock. Except in Jay and Alice’s world, the pressure of the clock has gone. The performances are captivating as the couple navigate their journey towards immortality. Is it idyllic or terrifying? In their own way, York and McDonald explore what having unlimited time does to them psychologically. Jay and Alice soon have a daughter (the wonderfully natural and dynamic Emily Butler), who soon grows up into the radical adult who questions her parent’s choices (Una Byrne). What does the promise of unlimited time mean for the world; socially, ethically, and politically? Byrne’s fiery influence not only shakes up the onstage characters, but it urges us all to take stock and consider our own views.

“Foreverland” can be seen as a parable for our time. One that goes far deeper than the ‘be-careful-what-you-wish-for’ résumé. We suddenly find ourselves in uncomfortable territory. Immortality, it seems, is only for the privileged. Progress only happens when people die. Big topics, but the writing condenses them into human emotions and domestic quibbles that resonate on a personal level. Not every emotion rings true, and there are a couple of moments when we are not sure what informs their decisions, but the performances remain powerful – right through to the heart-wrenching final scene. The silence that hovers above the audience reflects the stillness of the closing dialogue. Like the pause before the next heartbeat. There is one final choice to make.

Part fairy-tale, part docudrama, part sci-fi, part kitchen-sink, part love story, part comedy, part dystopia; but fully engaging, gripping, intelligent and funny. A fresh and intriguing take on one of mankind’s oldest obsessions. You might think you have all the time in the world, but don’t leave it too long to see this show.

FOREVERLAND at Southwark Playhouse Borough

Reviewed on 4th October 2024

by Jonathan Evans

Photography by Charlie Lyne

Previously reviewed at Southwark Playhouse venues:

JULIUS CAESAR | ★★★ | September 2024

DORIAN: THE MUSICAL | ★★½ | July 2024

THE BLEEDING TREE | ★★★★ | June 2024

FUN AT THE BEACH ROMP-BOMP-A-LOMP!! | ★★★ | May 2024

MAY 35th | ★★★½ | May 2024

SAPPHO | ★★ | May 2024

CAPTAIN AMAZING | ★★★★★ | May 2024

WHY I STUCK A FLARE UP MY ARSE FOR ENGLAND | ★★★★★ | April 2024

SHERLOCK HOLMES: THE VALLEY OF FEAR | ★★½ | March 2024

POLICE COPS: THE MUSICAL | ★★★★ | March 2024

FOREVERLAND

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PAST TENTS at the Golden Goose Theatre

★★★

“The actors, as writers, producers and performers, are committed and sincere.”

Alan and Justin take a lot of getting used to. Alan, in particular, is a rancid bundle of petty aggression and intolerance.

He literally crashes into a campsite having totalled his car shortly after admitting on the phone to his estranged wife that he’s also ruined his life.

There to greet him is irrepressible Justin, a campsite veteran of six years. With his Hawaiian shirt, endless optimism, cheer-up-mate schtick and his (unseen) family Justin is set for life.

Alan takes out his bad day on the indefatigable Justin (a versatile David J Keogh) whose relentless cheer begins to grate with the same nails-on-chalkboard efficiency as Alan’s shouty malice.

It is close to unbearable for much of the first half hour. The production comes at you like a pub drunk: loud, aggressive and unbalanced. The sub Carry On innuendoes and gross-out indulgences are relentless. (Seth Jones, as Alan, has a remarkable repertoire of gag reflexes and he plays them like a virtuoso.)

However, it settles. Be assured. The production finds a rhythm and a purpose. The campsite is many things, not least of which is a bleak circus where men become clowns and fall from grace into buckets of goo. And, with that in mind, the drama begins to take shape.

While Justin remains disturbingly cheery, newbie Alan must endure degradations beyond the measure of men in order to be reduced to his core. Hyper-active Jones, also the director, shows an unending capacity to manufacture his own discomforts. Hats off to him.

Also, a special mention for Mark Keegan as Virgil, a kind of camp commandant, with a natty line in off-colour banter. He shows a deft touch that allows the comedy to breathe.

The script is not embarrassed about revealing its secrets either. Spoilers litter the campsite like autumn leaves. At one point Alan cites a Hollywood actor whose mere mention prefigures an upcoming twist of an emotional subplot. No worries – we were all thinking it – but we’re just a little shocked he gave the game away with no obvious benefit.

But what we have beneath this endless bickering is an earnest attempt to examine the capacity of men to go to any lengths to avoid talking about their mental health.

Even as far as camping in the rain.

In that context, Justin and Alan are made for each other. In one plausible interpretation, the campsite is a depressed man’s mind – all denial, self-loathing, humiliations and anguish. No wonder the writers – Keogh and Jones themselves – keep the trousers dropping and the slapstick sticky.

Because when the truth comes, bespeckled though it may be with bodily fluids, it does hit home. The grand reveal is neat, satisfying and, if not shocking – the script having given up the goods too early – then certainly played for a pathos that works.

This is a public health advisory of sorts, albeit one presented on a stage dressed with an elephantine amount of sheep dung. Maybe don’t bring your granny – but do bring your dad.

The actors, as writers, producers and performers, are committed and sincere. They give a lot in energetic performances that are worthy of applause.

This is an evening with a grand appetite, a big heart and an important mission. It might even save a life. Beat that.

Category Archives: Reviews

FOREVERLAND

★★★★

Southwark Playhouse Borough

FOREVERLAND at Southwark Playhouse Borough

★★★★

“a gorgeously heartfelt and intimate story”