Review of ‘More Life’: “Killer storytelling”

The Royal Court Theatre hosts the London premiere of this new science-fiction play, exploring the meaning of human existence through the advances of robotics. Guillermo Nazara shares his views on the show, to let us know if the mechanics of its narrative end up needing their plug being pulled.

We only value what we can no longer have. Maybe that’s the reason why life is so precious to us. And maybe why it wouldn’t make sense to keep on going eternally, when we know that nothing could kill us, and despite what happens, we will continue to exist forever – especially, if all of those who gave worth to such existence cannot accompany us anymore.

The subject of immortality is no stranger to today’s literature – nor has it ever been to mankind since its very dawn. From alchemist books to modern sci-fi novels, humans have been fascinated with the idea of overcoming the most primeval aspect of their condition: the fact that their imprint in this world is only transitory.

Recent plays in the London scene, such as A Dead Body in Taos, have explored that topic while bringing along its intrinsic philosophy. What defines our essence as a person? And more importantly, does that essence still endure when technology gets in the way?

In a very similar manner, the Royal Court Theatre poses that query, and perhaps gives an answer to it, with their latest studio production. More Life, a joint venture put together with the Kandinsky Theatre Company, resurrects the issue of mechanical deathlessness through a plot of loss, grievance, and the importance of counting on those resources for our own happiness.

A woman killed in a car accident is suddenly brought back through an automaton body. She’s the same individual she was by the time she was gone – it’s only her appearance that’s now changed, or so they say… She’s no more made of flesh and bone, but metal and cables. And her brain has been turned into a compilation of files wrapped inside state-of-the-art hardware. She has the same memories, thoughts, and feelings she used to when she was alive for the first time. But is she really the same one if all of those are powered by a computer?

Directed by James Yeatman and written by Lauren Mooney, the piece makes an excellent effort at conveying a gripping plot that keeps audiences hooked all throughout. Its style of story line, staged through a highly aesthetic, expressionist approach, evenly combined with more conventional narrative techniques, contributes to its vitality. It’s a pleasure to see, but even a greater pleasure to watch.

Flaunting great pacing and structure throughout its entire delivery, the script manages to bring its moral compass into the picture with bold determination. Yet, it never looks it’s been shoved into us – quite the contrary. Acting as a key element of both its framing and dramatic ingrains, the metaphysical undertone the work beats to plays as one of its strongest and most stimulating ingredients. It may not be the most innovative view we’ve been offered in this genre to this day, but its zest continues to linger and resonate with us with acute gravitas.

The robustness of its renditions, all of them carried out with flowing sharpness and galvanizing poignancy, enhances the effectiveness of the whole concoction. Among them, Tim McMullan makes one of the most memorable appearances through his elegant, emotionally-driven portrayal, while Lewis Mackinnon brings charm and sincerity to his role in a much inviting performance. Some additional praise is also earned by Alison Halstead in the lead part, enhancing the character’s appeal by endowing her robotic aura with a heart and a soul.

Reconnecting us with a reality that’s never been further away from the realm of fiction, More Life regales audiences with an audacious, beguiling account channeled through reason and sentiment – reminding us of the ephemerality of our paths, as well as the dangers of fighting the principles that make us be in the first place.

With outstanding interpretations, visually striking staging, and a tale hat’s guaranteed to keep its guests wired to the very end, this shocking cautionary depiction of the not-so-distant future puts thought, meaning, and entertainment into full circuit – immersing us into a high-voltage jaunt that’s unlikely to shut down anyone’s interest any time soon. There’s something in it that will click inside your system almost instantly; and no matter the Karens sitting nearby, this is a programme you will surely enjoy.

All pictures credit to Helen Murray.

More Life plays at London’s Royal Court Theatre until 8 March. Tickets are available on the following link.

By Guillermo Nazara