The Bush Theatre is renowned for its commitment to nurturing the next generation of creative talent, and this week I caught the latest piece of work created and developed by the 18-25 Young Company. Written by Amber Ruby, Before We Forget is about a fictional, futuristic company named ‘Recall,’ which has the power to erase, archive or play your memories back to you. The show is ultimately a story about how humanity is struggling against an increasingly virtual world, and although this idea is timely and urgent, the show’s larger cast, and therefore the multitude of story threads mean that the ideas, and cast, don’t get quite the chance to properly shine.
At its core, it does have an intriguing concept. What happens when we can take control of memory? What is the cost? But the show spends the majority of its time tapping on the shoulders of other, albeit good, themes: race, family, technology, extremism… but it never fully gets to know them. This results in a lack of connection and emotional engagement with the characters. One of the plot threads given more time is the love story of Meg (Meg Gillard) and Shekinah (Shekinah Singh), a couple who have erased their memories of each other three times, yet keep finding themselves drawn to each other. We are not explicitly told why they erased each other, and although this feels like the big, emotional core of the story, the execution never gives it the depth that it needs.
As with any large cast, some performances stand out, others fade away in the background. A duo that drew laughs from the audience were Ruweyda Sheik-Ali and Mannan Guled, who play protester and Recall employee respectively. Their series of snaps and quips are emblematic of a fiercely loving sister relationship, and considering the visceral reaction they drew from the audience, it is a shame that their closeness, yet growing difference in values, does not play a bigger thematic role in the story. Josephine Surminski’s over-zealous, and then later disillusioned performance as a Recall employee drew similar reactions from the audience. These characters felt developed, unlike the majority of the others. Even writing this, I cannot put names to all the faces, as most of the players had no discernible characteristics, which made periods of the show flat and unengaging.
Although the use of curtains serves to separate plot threads and different groups within society, depending on where you are sitting, it is obstructive. They are used particularly well when memories and Recall’s CEO Michael Emery (Ayan Philip) are projected onto them, adding to that impending sense of dystopian doom, but that’s about it. Aaron Molloy’s lighting follows the emotional journey of the characters, using softer lighting in intimate, human moments, and harsher strobes when the technology of Recall is in full force.
The revelation that the corporation is actually taking advantage of the populace is unfortunately predictable, due to its familiar set up. Across the genre, there are a lot of sinister organisations and groups exploiting the everyman, but apart from the premise, Recall does little to distinguish itself from them. The ending also feels fairly convenient, as the protesters somehow break in and cause havoc to Recall’s systems. Considering the powerful technology Recall is shown to have, they are relatively easy to infiltrate.
With more time, and some character and plot thread shaving, the idea of the play could produce a gripping piece – that’s really what it should be. I will admit that ironically, I have had to do some serious recall to write this piece, as for me the show is largely forgettable.
2/5
Thanks for reading!
Catch the last performances of Before We Forget at The Bush Theatre today!
Tickets here: https://www.bushtheatre.co.uk/event/before-we-forget/#Creative%20team
Photography by Harry Elletson
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