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

THE NATURE OF FORGETTING REVIEW

THE NATURE OF FORGETTING

★★★

“an imaginative and well-crafted reinterpretation of a familiar story”

Most audiences already know the story of the Pied Piper of Hamelin. But what happens if the story is retold from the point of view of those usually described as the problem — the rats themselves? This is the central idea behind Little Angel Theatre’s The Pied Piper: A Rat’s Tale, and it is also the production’s most effective act of adaptation.

The world of the show is established immediately through music. A haunting flute melody, combined with loose robes, waistcoats, head coverings and layers of fabric, creates a culturally hybrid visual style. Rather than presenting a realistic version of medieval Germany, the production builds a timeless folkloric world: a place of travelling musicians, storytellers, markets and old legends. This gives the story an international quality and allows the audience to enter the world quickly without being tied too closely to one historical setting.

The storyteller welcomes the audience warmly and playfully brings the local area into the performance, at one point referring to the market as “Islington”, the neighbourhood in which Little Angel Theatre is based. From there, the story follows Horatio, a young rat who leaves his quiet home by the river in search of excitement. After arriving in “Hamelin” and taking a nap at the market, he is captured by humans, passed off as a replacement puppy and sold to a family. His whirlwind of adventures then sets in motion the events that eventually lead to the familiar story of the Pied Piper.

This shift in perspective is the strongest element of the production. The rats are no longer simply a plague or a comic threat. They become characters with their own motivations, relationships and points of view. The show therefore becomes less a retelling of a famous story and more “the story behind the story”.

The solo performer, Steve Tiplady, handles the different characters with clarity and energy, and the production itself is carefully structured and highly tourable. Some of the most theatrical moments come from changes in scale. Tiny finger puppets are sometimes almost too small for younger audience members to see, but this limitation is later turned into a surprise. A black curtain is lifted to reveal an entire miniature town, with carts moving through the streets and small rats appearing at windows. These changes of perspective are simple, inventive and deeply theatrical.

The ending, however, feels rushed and dramatically less convincing. In attempting to soften the grim ending of the original tale, Horatio ultimately becomes a hero by saving the children, giving the production a more reassuring, family-friendly conclusion. Yet this also raises a more complicated question.

Horatio begins as an ordinary rat who feels overlooked. He leaves home, survives an adventure, saves others, becomes a hero and is finally accepted. The emotional logic therefore risks becoming: you are worthy of love because you have proved yourself exceptional.

For a contemporary children’s audience, this idea of conditional belonging deserves closer examination. Does Horatio really need to become extraordinary in order to deserve acceptance? Perhaps the more interesting question is whether he ever needed to prove his worth at all.

A Rat’s Tale is an imaginative and well-crafted reinterpretation of a familiar story, with strong puppetry, clear storytelling and several beautifully theatrical moments. Its change of perspective feels fresh. Yet by returning to a conventional heroic ending, it loses some of the complexity that the adaptation initially promises.

Tag Archives: Ellie Kurttz

THE NATURE OF FORGETTING

★★★★

UK Tour

THE NATURE OF FORGETTING

Hackney Empire

★★★★

“deeply moving and beautifully observed”