THE NATURE OF FORGETTING
Hackney Empire
★★★★
“deeply moving and beautifully observed”
Revived for Theatre Re’s 10th anniversary and Hackney Empire’s 125th, ‘The Nature of Forgetting’ is as powerful as ever. Fusing astonishingly precise movement with deeply human storytelling, this acclaimed production approaches its subject with compassion and remarkable honesty.
Tom’s too young to be losing his memory. Diagnosed with early onset Alzheimer’s, memories of childhood endure while the people he loves begin to disappear.
Conceived by Guillaume Pigé, with dramaturgy by A.C. Smith and developed by a large ensemble of devisers, ‘The Nature of Forgetting’ uses physical theatre to capture the disorientating reality of dementia with impressive clarity. We first meet Tom struggling to put on a jacket his daughter picks out for him. Suddenly, the past comes rushing back, alive with schoolboy mischief and first love. Yet those happy memories gradually fracture as Tom makes increasingly desperate attempts to remember the decades that followed. At times the narrative is deliberately elusive, though Professor Kate Jeffery’s scientific guidance lends it undeniable authenticity. The result is not merely a moving piece of theatre, but a profoundly insightful glimpse into the lived experience of dementia.
Directed by Pigé, the production is executed with striking precision, shifting effortlessly between crisp, angular movement, flowing ensemble sequences and even a wonderfully playful 80s-inspired routine. The cast performs with impressive synchronicity throughout, a testament to the rigour of the work behind the scenes. The storytelling is often breathtaking. One particularly poignant scene sees Tom’s earliest memories of his daughter represented by a chair – a simple yet devastating illustration of how dementia can erase not just events and places, but people and faces. Dialogue is used sparingly, though lines are sometimes lost and would benefit from greater projection or amplification. Some pauses linger a beat too long, perhaps deliberately but nonetheless momentarily disrupting the otherwise fluid momentum. Overall, however, it’s an overwhelmingly compelling piece of theatre.
Composer Alex Judd’s inventive live score conjures an astonishing range of sounds, some so unusual they scarcely seem man-made. Expertly performed by Judd and Nathan Gregory, it’s seamlessly woven into the staging, perfectly complementing the movement and creating a richly immersive experience.
The otherwise bare stage is filled with Malik Ibheis’ carefully curated props and costumes, each object hinting at a world that’s increasingly difficult to grasp. Costumes become a vital part of the storytelling, grounding key memories before letting them slip away. Katherine Graham’s lighting deftly balances warm and cool washes with startling intrusions of shape and angle, underscoring the disorientation of Tom’s fractured recollections. Most affecting are the recurring snapshots of Tom and Isabella in a car, a simple motif that gathers greater depth with each iteration.
The quartet of performers sparkles, their instinctive chemistry and utter synchronicity underpinning the production’s emotional power. Pigé is deeply compelling as Tom, combining astonishing physical agility with rich expressivity that vividly charts every stage of his journey. Luna Tosin is radiant as Isabella/Sophie, demonstrating both youthful exuberance and restrained poise, while Claudia Marciano deftly captures the shifting ages and emotions of Emma/Mrs Denis. Calum Littley is instantly endearing as Mike, bringing welcome flashes of humour.
‘The Nature of Forgetting’ is a deeply moving and beautifully observed exploration of dementia. Heartbreaking yet hopeful, it is a powerful reminder of theatre’s ability to foster empathy and understanding.
THE NATURE OF FORGETTING
Hackney Empire then UK Tour continues
Reviewed on 8th October 2026
by Hannah Bothelton
Photography by Ellie Kurttz
