Tag Archives: Emma McDonald

FOREVERLAND

★★★★

Southwark Playhouse Borough

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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

FOREVERLAND

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The Devil's in the Chair

The Devil’s in the Chair

★★★★

Riverside Studios

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The Devil's in the Chair

The Devil’s in the Chair

Riverside Studios

Reviewed – 6th February 2022

★★★★

 

“It’s a heavy mix but delivered with a light flavour so it never appears overcrowded”

 

The ‘Bitesize Festival’ currently running at Riverside Studios is a programme of selected play-readings and comedy, showcasing new material. The name speaks for itself, reinforced by the theatre’s website: ‘Sometimes you just want to experience theatre in bite size pieces. We understand… each performance is an hour or shorter. And each is guaranteed to move, excite and entertain you’.

“The Devil’s in the Chair”, the new play from Eoin McAndrew, boldly flouts the criteria by running at just a little under two hours. Thankfully, though, McAndrew meets the other criteria with his moving and entertaining portrayal of a Northern Irish family brought, somewhat reluctantly, together for Christmas in a remote cottage in rural Donegal. An actor, comedian and writer, McAndrew is a member of the BBC Comedy Writers Room and the Royal Court Theatre’s International Playwriting Group; both accolades evidenced by the sharp dialogue he gives to the dysfunctional characters of this new piece. Adopting the powerful story telling technique of Conor McPherson, with hints of Martin McDonagh’s ‘Leenane’ trilogy, McAndrew lets his own voice come through.

Without fanfare, the cast wander onto the stage before the houselights fade and introduce themselves and the characters they are about to present. Like the other showcases at the festival, the audience are required to build the set in their own minds, aided by (perhaps unnecessary in this case) spoken stage directions from the cast. With script in hand, the five strong ensemble paint a vivid portrait of the world this family inhabit.

Saoirse (Amanda Hurwitz) is the maternal figure, not particularly liked by her three sons, who is grudgingly dragged to the backwater when she would clearly rather be back at home watching re-runs of the ‘Father Ted’ Christmas Special. The well-intentioned but misjudged family reunion is instigated by city-worker and aspiring novelist Liam (Niall McNamee) while Jamie (Matthew Duckett) wallows in self-medication, self-pity and alcohol following a, perhaps, self-induced car accident and Darragh (Cavan Clarke) is trying to rebuild his life, not helped by his siblings who are all too ready to knock him back down like fledgling bullies kicking sandcastles on the beach. This sounds like hellish company in which to spend two hours on a Sunday evening, but the natural empathy of the performers, coupled with the affectionate and sympathetic naturalism of the script make these characters quite likeable. A view initially shared by the outsider Ellen (Emma McDonald), the cottage’s proprietress who repeatedly pops over to see if everything’s alright. She soon learns that it isn’t.

Many themes are tackled including, among others, alcoholism, Catholicism, mental health, suicide, child abuse, lies and betrayal, family obligations. It’s a heavy mix but delivered with a light flavour so it never appears overcrowded. The humour simultaneously brings relief to the gravity of the situation but impels us also to lodge the issue in our heads to consider later. But for the time being the entertainment value of McAndrew’s writing draws us into a very quirky and dark soap opera.

Being a reading rather than a fully staged drama, however, the cast obviously haven’t had the luxury of time to grow into their characters. And initially there are signs of maybe not quite enough read-throughs before the piece is unveiled to the public. But once in their stride, the cast wring out the emotions and we definitely feel the impact of the play’s potential. Watch out for the title; I’m sure we’ll be seeing it again soon.

 

Reviewed by Jonathan Evans

 


The Devil’s in the Chair

Riverside Studios as part of Bitesize Festival

 

Previously reviewed at this venue:
A Level Playing Field | ★★★★ | February 2022

 

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