The Nature of Forgetting,
Curve Leicester,
Monday 9th November
For anyone who has peered into the eyes of a loved one whose body, speech and mind have been transformed by dementia, the question ‘what is left when memory has gone?’ is one that might feel too painful to contemplate. Yet over ten years ago, this very question became the inspiration for The Nature of Forgetting, a slick and competent piece of physical theatre that has become something of a global phenomenon. Having researched both the impact of memory loss with a neuroscientist and interviewed those affected by conditions like dementia, Theatre Re set out to represent something of what it might be like to live a life where thoughts, perceptions and memories are impaired. This is a production that has continually evolved and seems to have taken on a life of its own.
The Nature of Forgetting was conceived and directed by Guillaume Pigé who also takes on the lead role of Tom who is living with memory loss. We initially encounter Tom preparing to celebrate his 55th birthday with daughter Sophie (Luna Tosin) who at times he mistakes for his wife Isabella. As they await the arrival of Tom’s mother (Claudia Marciano) and friend Mike (Callum Littley), Tom struggles to find the right jacket for his birthday gathering as items of clothing hanging on the rails begin to trigger distant memories that are recreated before us. Much as those with dementia retain distant and regularly replayed memories more efficiently, we witness at length Tom’s school escapades, his first kiss, marriage and arrival of his first born. Yet over time, Tom’s memories become distorted and the boundary between recollection and perceived reality becomes blurred and confused.
Music composed by Alex Judd fuses seamlessly with the performers’ movements, whilst two live musicians (Henry Webster and Nathan Gregory at this production) also join the action as occasional characters from Tom’s life story. The skill and precision with which movement, sound and light work in perfect synchronicity is an incredible achievement. There are moments, such as a mesmerising bicycle sequence, that are sheer perfection, whilst other sections are harder to comprehend, leaving one to make their own interpretation. The main quartet of performers compliment and respond to each other with ease and transform rapidly between characters. Of particular note is Pigé’s talent for physical transformation, which is so accomplished that he seems to age and degenerate within the blink of an eye.
For such an emotive subject, and despite the immense talent and skill required to bring such a production to the stage, it’s surprising how stepping into Tom’s world is not more emotionally stirring for the audience. Somehow in striving for all that precision, the production seems to have lost some of its heart.
A simple set consists of mainly school desks and chairs which are reimagined into each of Tom’s fragile memories. Staging a number of sections too far forward however means that the action is lost at times by those sitting more than six rows back. This is just a minor quibble however for an imaginative and highly drilled piece of theatre, the likes of which are too seldom seen.
Photos: Johan Persson
