Tag Archives: Jonathan Evans

FOREVERLAND

★★★★

Southwark Playhouse Borough

Reviews, , , , , , , , , , , , ,

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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INCARNATION

★★★★

Theatre Royal Drury Lane

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INCARNATION at the Theatre Royal Drury Lane

★★★★

“Caruso is a meticulous performer; each step choreographed with a purpose”

“I remember that day like it was yesterday. I remember being tied up, being unable to speak. I remember how much I hurt trying to escape”.

Maria Caruso’s pre-recorded voice swoops above the stage while below, her lithe figure expresses the sentiment behind those words, alone on a vast stage. It is a moment of bravery that almost eclipses our appreciation of her unique choreography.

“I gave my soul and every ounce of energy to get away. And I was free. Free to become the person I am today… to let the past go and forget what happened. To find the light inside myself”

Although we never learn the detail – what happened to her? – her solo dance performance tells a powerful story. One that is personal to her but that we can interpret in whichever way we feel. The same was said of her previous show, Metamorphosis, of which Incarnation is, if not a sequel, an extension. Like the former, Caruso describes it as “an in-depth retelling of the intimate stories with no words”. Except that there are quite a lot of words in this show. Phrases litter the prologue to the performance as though torn out of a therapist’s thesaurus. We are invited to ‘see’ her story through ‘every fibre of her being’. There are definite moments when we feel we do not need really to be told this, but to let her movement, and Ryan Onestak’s evocative music score unfurl the narrative; along with our own imaginations.

“There is a powerful defiance that fuels the dance routines”

For it is visually quite stunning. It can be argued that Theatre Royal Drury Lane is too vast for this intimate piece, yet Caruso manages to fill the space with her personality. Simplicity is the key, with a minimal set reminiscent of the late Peter Brook’s ‘Empty Space’ school of thought. A lone clothes rail is a lonely backdrop, from which she plucks dresses that each represent a turning point in her life. Downstage, a writing desk is the only prop, at which she writes letters. In fact, the show is a love letter, a begging letter. She writes letters of intent, of pain, of revelation. To whom? A lover? A confidant? She waits for a reply forlornly. When it eventually arrives during the final moments, some of us might have seen its message coming.

But it is the journey that fascinates. Caruso is a meticulous performer; each step choreographed with a purpose. Her talents stretch beyond dance and there is something filmic about the show – the detail, facial expressions and small gestures speak as loudly as the body rolls and arches while her eye is firmly trained on the camera lens. It is a touch distracting and distancing, though, and at times we feel we are the studio audience for a future stream.

Innovative and emotive, we are left in no doubt that this is autobiographical. How much dramatic licence is used is open to question yet there is no denying the courageous honesty as Caruso figuratively and almost literally bares herself. Yet beyond the high-flown metaphors there is something calculated and controlled that belies the tortured soul that is being exorcised.

Nevertheless, we are uplifted. Something profound is taking place. Simultaneously hard to explain but simple in its truth. Caruso is a striking dancer and choreographer, image-maker, storyteller and thought-provoker. There is a powerful defiance that fuels the dance routines. Triumphant and optimistic, even if a touch over-dramatic and indulgent. Sometimes the emotion doesn’t ring true, and the suffering is at odds with the self-adulation; but we are more than willing to be drawn into the conceit. It is ultimately quite beautiful to watch.

 


INCARNATION at the Theatre Royal Drury Lane

Reviewed on 2nd October 2024

by Jonathan Evans

 

 


 

Previously reviewed at this venue:

PIPPIN IN CONCERT | ★★★★★ | April 2024
YOUR LIE IN APRIL | ★★★★ | April 2024
WILD ABOUT YOU – A NEW MUSICAL IN CONCERT | ★★★ | March 2024
HANDEL’S MESSIAH: THE LIVE EXPERIENCE | ★★★ | December 2022

INCARNATION

INCARNATION

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