Review: Before We Forget (Bush Theatre)

Reviewed by Rebecca Clifton

⭐️⭐️⭐️

London’s Bush Theatre is being taken over by the 18 - 25 Young Company in a community production this week, with the premiere of Before We Forget. Set in a dystopia where memories are pieces of data that can be stored. Biotech giant Recall gives individuals the opportunity to relive memories or be relieved of them, but at a cost, of course. We are challenged to find the essence of humanity and human connection in a world driven by targets, data and virtual reality. 

A dystopian drama about memory modification and memory erasing is nothing new. We’ve seen the concept on screen multiple times such as in the films Eternal Sunshine of the Spotless Mind and Vanilla Sky, as well as episodes of the TV series Black Mirror. Its plot is hampered further by the fact that there are too many themes being alluded to, yet none are developed so much that you get your teeth into them. The plot could dive deeper into healthcare and dementia or unreliable memories. However, it stays at surface level, and left me longing for a bit more depth. Some of the themes touched upon include global warming, medical responsibility, minorities and oppression, race, dementia, fractured families, morality; the list goes on and on. 

Before We Forget would do better not to bunny hop around different agendas and to stick more steadfastly to its core: the exploitation by Silicon Valley Tech firms of those battling for basic human rights. As it is, Before We Forget tries to talk about everything and, consequently, doesn’t land securely on anything. We start with four friends sitting around a fire, being drawn into its glow like an ancient tribe. They are playing a ukulele, telling stories and sharing the memories of songs being sung to them by grandparents. Their spoken word and oral storytelling are reminiscent of our ancestors’ telling stories around a fire. Director and Co-Creator Amber Ruby gives us this quiet, wholesome opening scene to highlight the human connection, friendship, and love the protesters are fighting for.

From here, we jump abruptly to the vacant-eyed, plastered smiles of the Recall team, doing their best version of a TED Talk-come sales pitch. Zarmeeneh Khan, a brainwashed Recall employee, gives her perfect winning smile, with nothing going on behind her eyes. You can’t help but be drawn to her whenever she gives her robotic, note-perfect sales pitch, complete with over-exaggerated gestures and a plucky can-do attitude.  Another performer that bursts onto the stage as part of the Recall company is Josie (Josephine Surminski). Her long, fast recitation of the terms and conditions that take place before the Recall procedure is downright impressive. Josie’s performance is one of the standouts, as she blends comedy and resentment in her character with a fine-tuned balance. Phrases that are all too familiar to use, like ‘beta testing’ and ‘premium subscription ’, have been transposed onto the commodity of memories and personal experiences, which is effective.

Sitting between the extremist protesters and the Recall team is Mason (Mason Thomas-Downes), the Recall handyman. He is given a wide berth by many because he talks to himself and is a bit of an oddball, but it turns out he is just a lonely man who misses his grandfather. Mason’s job as a handyman does not convey the full scope of his purpose. He is our wisdom-filled sage, interjecting philosophical nuggets such as, “Keeping something doesn’t mean saving it.” Meg (Meg Gillard) and Shekinah (Shekinah Singh) are the perpetually failing love story at the centre of this play. It is a shame this is the part of the plot we have seen in other mediums, as it has many holes and lacks the strength to add to the concept of inevitable love. The sweetpea flower that connects the lovers is the main redeeming part of their story. It is a lovely metaphor for a seed that is sown in the early winter to be left dormant in the cold lonely months, only to bloom with full force in early spring. It is a delicate symbol of Meg and Shekinah’s dormant love that inevitably blossoms again and again. Shekinah Singh’s performance carries a lot of heart and gives us some of the play's most tender moments. 

The most realistic and charming relationship goes to the two sisters, protester (Ruweyda Sheik-Ali) and Recall worker (Mannan Guled). Their dynamic is hilarious and conveys a true sisterly relationship filled with equal parts contempt and unconditional love that only siblings know. Their relationship transcends time and shows the core of human connection through a joyous performance of frustrated sisterly love.  Lawrence (Lawrence Ssonko) gives a delicate, nuanced performance of one of the play's key themes: the loss of a parent or relative through time and memory. The play would have been much stronger if it had focused more intently on this theme. Family is at the heart of this play. The way family members fade away, either through dementia or death, is one of the touchstones that many characters experience. But it doesn't anchor the play, as I wish it would. 

The staging of Before We Forget doesn’t have bells and whistles or big scene changes, but instead uses props and modest set alterations effectively. Black organza curtains are consistently repositioned around the stage to show the fading of memories and how everything, even in the present moment, might not be as clear as it first seems.  The light design by Aaron Molloy is particularly impactful with ultra-neon strobe lights creating a post-punk, early-raver atmosphere. Coloured lighting contrasts with bright, clinical lighting to show the sterile mind-washing of Recall against the vibrancy and emotion of memory.  This polarisation is also tied to the costume design by Georgia Wilmot. The Recall clan wear green and grey. Then, at the other end of the colour spectrum are the protesters in reds and oranges. Wilmot ties in this rave aesthetic with the glowing beads the Recall employees wear on necklaces and bracelets. It appears that the more neon green beads they have, the more their memories have been erased. 

Before We Forget is propelled by the spectacular performances of its young cast. If there was ever anything to excite you about the future of theatre, it is the chance to see new talent in this play shine. Admittedly, in terms of plot, the play is not without its flaws, but that does not detract from the wonderful performance given by the  cast. That brings me to my final praise, and it's to Bush Theatre itself. In a buzz of anticipation before the play starts, friends and family are clasping flowers and champagne bottles, ready to congratulate their friends on their performance. This is a testament to the brilliant work that Bush Theatre does in giving space to a new generation of artists and performing talents. The support and love which was overwhelmingly evident in the audience was aptly fitting for a play all about the importance of memories and human connection.

Before We Forget plays at Bush Theatre until 22nd August. Tickets from https://www.bushtheatre.co.uk/event/before-we-forget/

Photos by Harry Elletson