Foreverland is a new piece of writing that explores a future where immortality has been invented; or, rather, it is possible to extend one's lifespan beyond any previous expectations. Alice and Jay are two of the first people to join the programme, seemingly blessed with Jay's finances to put them through. The play jumps through time, toying with what happens when time is not as limited as we are used to, whether healthcare is a commodity reserved for those with means, and how family and relationship dynamics adapt to this new reality.
A compelling dystopia, Emma Hemingford creates a beautiful world with her words. Her writing is exceptional; filled with sharp wit and warmth, it evokes relatable dynamics between characters and we are immediately engrossed in this fictitious future that is grounded in the reality of human relationships. Special praise must also be given to Hannah Rose Goalstone's intimacy coordination, which is so deeply evident throughout - though at times the couple's conflict doesn't feel as natural as we'd like, their romance is beautifully grounded and an utter joy to behold. What might be an unusual criticism of this piece, aside from a couple of small plot question marks, is merely that it feels that the story might be better suited for the screen, either in series or a feature film. Hemingford creates wonderful montage moments which are great fun, handled very creatively by director Frederick Wienand (and enhanced throughout by Lily Woodford's brilliant lighting design), but would be even more effective in another medium, and at times the play as a whole feels slow (especially towards the end), where it could be filled with more detail and music-backed heartbreaking scenes. I for one would be rushing to the cinema or sofa to indulge!
There are some exceptional performances throughout this production.
Emma McDonald as Alice shows off an impressive range from endearing naivety through to devastating depth of emotion via suppressed head-in-the-sand. Christopher York gives an incredibly nuanced performance as Jay, showing a flawed ambitious drive and a Lady Macbeth-esque crash back to reality, though we long to see more of his journey through emotional turmoil that could be afforded to us on screen or even an extended production. And Valerie Antwi is an utter delight as Dr Lane - her exceptional comedic chops are on full display here, in particular in her turn as the zany daughter of the doctor; her timing is exquisite, and though she offers some wonderfully more sincere moments too, her hilarious additions really do elevate this theatrical experience.
An intriguing story with some seriously stunning performances, Foreverland runs until 19th October.
Author: Penny Lane
Review: Penny Lane Photo: Charlie Lyne