Review of ‘Before We Forget’: “Memory-themed play is dramaturgically oblivious”

I think it’s frightening that science-fiction stories warning of the dangers of technology in the near future no longer come across as science fiction or the future. Sorry to sound apocalyptic, but the threat has become a reality by now. And so, a plot involving a company providing human memory storage services should serve as more than a cautionary tale — but a call to action. Or at least it would have if it had been good.

I can condone a few flaws given the nature of the material. Performed by the Bush Young Company, the show should be regarded as an opportunity for emerging artists to develop their craft. The problem is that not that much has been developed. The acting is adequate — sometimes, it shines moderately; some other times, it’s rather flat. But the key issue is the writing, and its inability to weave an engaging, well-structured, and resonant tale.

If I had to describe the narrative in a nutshell, the word that comes to mind is messy. That’s all it is. Too many characters in too little a time span lead to a rushed, shallow, and unfulfilling script.

The plot revolves around the rise and fall of Recall, an enterprise specialised in human recollection, erasing personal remembrances from people’s minds, and vaulting them so clients can revisit them whenever they wish. What starts as a promising initiative soon becomes a horrific example of corporate greed and mass manipulation. They don’t intend to help people but to make them dependent — and ultimately, control them. And several rising dissident voices are determined to stop them before it’s too late.

The outline shows potential, but it doesn’t get any further. It’s a good sketch of a drama. But eventually, that’s all it delivers — sketchy characters, sketchy storylines, and an overall sense of underwhelment. Too many side plots converge without really going anywhere. And even when they do, their approach is so rough that it hardly feels like anything has actually happened.

Some scenes depict the employees’ growing disillusionment with the company’s practices, especially after discovering their ulterior motives. Some others follow their consumers’ experiences. Conceptually, those are all compelling narratives. But none of them is fleshed out sufficiently to have an impact on its audience. Overall, the personages have little to no dramaturgical relevance. Their arcs, if they exist, are limited to very vapid sequences — and for the most part, there’s no proper conflict or resolution.

As a result, the piece is unsatisfactory on many levels. Not only does it lack depth and elaboration, but it’s also tremendously boring. It’s not a journey we want to embark on. And it doesn’t take too long for us, as viewers, to want to hop off. The dialogue might be decent, albeit slightly clunky, but it doesn’t serve a convincing, enticing recount. At the same time, the poignancy, despite a few clumsy attempts, is nowhere to be found.

The design is dynamic but somewhat ineffective. Sliding scrims crisscross the stage to create different settings — with the occasional aid of projections. At some points, it works. However, it doesn’t evoke much else than the illusion of a separate place. And sometimes, it seems unaware of the fact that the audience is allocated in a thrust space. Fortunately, the translucent fabrics do not block the view entirely. Still, if you’re not sitting in the central block (thankfully, I was), I can only imagine how annoying it would have been to watch back-turned actors through the gauze for almost the whole scene.

The performances are passable. As usual, some stand higher than others. But none truly stands out. There is rapport, the kind that stems from a close-knit team that is not only committed to what they do but to each other. But when it comes to giving authenticity and layering to the roles, everyone is still a long way from getting there.

There is a good idea. And with the necessary nurturing, it can grow into something gripping, stirring, and eventually, meaningful. As for now, Before We Forget is basically a scribble. There are some interesting themes. And there is the seed of a powerful play. But all the groundwork required to flourish is yet to be done. And for the time being, nothing in it is worth remembering.

All pictures credit to Harry Elletson.

Before We Forget plays at London’s Bush Theatre until 22 August. Tickets are available on the following link.

By Guillermo Nazara