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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★★★★

“Dynamic, thrilling and imaginative”

We first see Tom Ripley, clicking away at his typewriter keys, with his back to us. Turning around he asks us “Have you ever had the feeling you are being watched?” It is a leitmotif that bookends the show and many of the scenes within; and its delivery sets the scene, tearing down the fourth wall and drawing us completely into the mind of the character. For the next two hours we are hooked.

The slightly unsettling thing about witnessing The Faction’s “The Talented Mr Ripley” at Wilton’s Music Hall (and indeed reading Patricia Highsmith’s original 1955 novel) is how much you find yourself rooting for a double murderer. You want him to win – to get away with it. Orphaned and brought up by a cold, judgemental aunt, he is quite vulnerable, starry-eyed and charmingly naïve. But also, he is clever and able to outwit all around him, escaping from scrapes with flair and downright good luck. Christopher Hughes, as Ripley, plays on this dichotomy with sheer brilliance. A stunning performance during which he never leaves the stage, and during which you cannot keep your eyes off him.

But for all the attention Hughes attracts, there is still plenty of focus on the full ensemble in this tour de force of storytelling, particularly Luke Shaw as the shipping magnate Herbert Greenleaf who sets the wheels of Ripley’s adventures in motion. Herbert’s son, Dickie, is living it up in Italy showing no signs of coming home. Mistakenly believing Ripley to be a close friend of Dickie’s he offers him an all expenses paid trip to persuade the wayward son to return to the roost. Eyeing a way out of the mess his life has become in America (and of course a free holiday), Ripley readily accepts and unwittingly takes his first step onto his murderous journey. A trail that winds dangerously through the plot twists with a white-knuckle intensity.

Christopher York is captivating as Dickie, and with Natasha Rickman’s Marge; the triangle is complete, although with Ripley kept on the margins rather than fully being allowed to steal into the lifestyle he so covets. So instead he steals lives and identities. Mark Leipacher’s direction keeps us on our toes, adding further twists into the already knotted narrative. Minor characters morph into shadowy figures that prey on Ripley’s paranoia and conscience. The action is occasionally brought to a halt with the cry of “Cut!” and the scene replayed with the outcome Ripley wants. He is, after all, in control, though the double-take suggests that he’s not a villain. He’s just busking it really – making it up as he goes along.

But that definitely can’t be said of this company’s inventive interpretation of the story. This is undoubtedly finely thought out. Dynamic, thrilling and imaginative.

Reviewed by Jonathan Evans

Photography by Richard Davenport

FOREVERLAND at Southwark Playhouse Borough

★★★★

“a gorgeously heartfelt and intimate story”

FOREVERLAND at Southwark Playhouse Borough

Reviewed on 4th October 2024

by Jonathan Evans

Photography by Charlie Lyne

Previously reviewed at Southwark Playhouse venues:

FOREVERLAND

FOREVERLAND

Wilton’s Music Hall

Reviewed – 22nd May 2019

★★★★

“Dynamic, thrilling and imaginative”

But that definitely can’t be said of this company’s inventive interpretation of the story. This is undoubtedly finely thought out. Dynamic, thrilling and imaginative.

Reviewed by Jonathan Evans

Photography by Richard Davenport

The Talented Mr Ripley

Wilton’s Music Hall until 25th May

Last ten shows reviewed at this venue: