More Life

This timely production by Kandinsky in conjunction with The Royal Court deals with the ever-popular subject of regeneration and immortality. Set in a future where the possibility of uploading a person’s life and soul into a computer file then implanting it into a synthetic body is on the verge of success.

Lauren Mooney and James Yeatman have taken the story of Frankenstein and given it a new and hugely thought-provoking update. Set 50 years in the future, the technology exists to do these mind and consciousness transfers, and yet, only one appears to be working and that is a young woman, Bridget. Where this play really succeeds is in making the decision to theme it around the human costs rather than global repercussions. Here we see the raw emotions of a person who is brought back to life and then confronted with an aged husband who has moved on and remarried and a world that is alien to her. It is within the more domestic environment we see Bridget struggle as she tries to accept both her new life, and the loss of the years in between her death and rebirth.

This is such a strong ensemble piece with both multiple roles and some wonderful use of voices into microphones. A current trend that in this production works to fantastic effect. It is such a strong cast that it would be wrong to single out any one actor, as it is the combination and bravery of them all that wins through.

James Yeatman’s direction is sharp, and a shows clever use of the bold orange compartmentalised setting designed by Shanko Chaudhuri. Brought to life most effectively and creatively with Ryan Joseph Stafford’s lighting.

The pace and unnerving aspects of the story are well crafted and only in the later part of the play does the tension drop a little, and then in contrast, the resolution feels a little rushed.

With all our present-day worries concerning technology and how it might take over our lives, this new play is a crucial reminder of where we could go very wrong.


Photo credit: Helen Murrey