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As readers of my previous reviews will know, I generally like to think in advance of seeing a show about what I already know about the play and the author. I might even do some light research if I know nothing much about either. I will then consider what I expect from the performance, and sum up afterwards whether the performance met any of my expectations. Well here’s the thing. I wasn’t planning to review the show, but – spoiler alert – I liked it so much and found so much to think about that I decided at the interval that I wanted to review it. So here goes.
Although there was some genuinely amusing moments, the story is unsettling. The recently deceased arrive in the after-life and must choose one – and only one – memory that they will take with them into eternity. Whoa – scary, right? This memory is then recreated for them by the “office team” using props and actors that they are sourcing from….. somewhere. One of my favourite scenes of the play was when the team were rushing around with props and simultaneously casting and directing as accurately as possible the treasured memory that each client wants to take with them. I enjoy seeing actors “do” stage management – which they can only do to such good effect as we saw here if there is a genuinely top stage manager sorting it all out for them. Richard Davies is clearly such a top stage manager.
There were stellar performances from all of the cast who created real people and a real workplace dynamic in a surreal setting. The team of not-angels were pitch-perfect and an utterly believable representation of an office group - the like of which we have probably all worked with.
In the office team, Katie Smith as One was sympathetic, warm and vulnerable – and her scenes with Romain Mereau as Two, were charming and poignant. Romain Mereau (Two) beautifully portrayed the diligent member of the team, doing his utmost to ensure that the final memory was as accurate as possible. I very much enjoyed David Lindley-Pilley as Three – the office grump doing just enough to stay this side of helpful. Jess Shiner was excellent as Four – the annoying new one, who finds her groove and begins to appreciate the value of the work. Lovely character development - and a joyous moment watching her dance around to “Heaven Must Be Missing an Angel” while wearing a real joke-shop angel costume. There was a lot of depth to James Stephen Finn as Five - the over-promoted team leader – I REALLY wanted to know his back-story.
In the recently deceased “clients” team, Vyvian Shaw as Beatrice gave a beautiful performance, veering between crossness, forgetfulness and a touching vulnerability. Her lines about hoping that after death there would be peace and no more having to make choices, were touchingly delivered. Fiona Makia as Obafemi delivered up some excellent outrage at how the after-life falls far below her expectations. “I should have been judged! They said I’d be judged!”
Deborah Schneidermann and Peter Molloy carried off their parts with great aplomb and brought depth and colour to the entire piece with their supporting roles. Orane Stepczynski was also excellent as Katie – the love of Hirokazu’s life. James Taverner gave an outstanding and heart-breaking performance as Hirokazu. Moving from the sorrow and despair of feeling that his life hadn’t been eventful enough to yield a precious memory, to the realization that his love for Katie was the most special part of his life.
There was a stunning set by Angelika Michitsch – a glorious blend of the surreal dreamscape with the cleverly lit giant moon (by Alexander Kampmann and Isa Stewart), and the mundane office/interview room. Costumes by Christine Bowmaker were absolutely spot on. The neutral grey palette of the mysterious workforce contrasting nicely with the “this is what I was wearing when I died” ensembles of the other characters. The show had a great soundtrack. The whole production design was so cohesive and every detail had been really thought about. I especially liked the signifiers of the days of the week charting the progress of the timetable that the recently deceased moved through on their way to the next thing.
This isn’t a long play, but so well written that even with comparatively few lines each character has a real depth and I longed to know more about them. Alexander Kampmann’s direction of these lovely performance was spot-on. But beyond getting fine performances, there was a real sense of creative control about this production. Alexander brought everything together beautifully – he clearly had a strong vision which was fully realized to moving effect.
We all wonder (don’t we?) if there’s anything beyond the death that absolutely all of us will face. It’s rare to see a play that resonates with everyone’s experience and interests. Whether or not we believe in a Great Beyond and how it will work out for us, I loved this richly imaginative production. It kept us in deep discussion after the performance – and I am still thinking about it now.
Photography by Pau Ros
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