Alan Bennett’s The Lady in the Van, Kalunka Theatre’s André and Dorine, and now Theatre Re’s The Nature of Forgetting completes a triptych of productions put on in the South West over the last year that have explored the loss of memory as a central theme. Alzheimer’s, rightfully, is emerging from the shadows.

Working in collaboration with UCL Neuroscience Prof Kate Jeffrey, Theatre Re under the direction of Guillaume Pigé, took three years of research and improvised experimentation to make this piece, which was a British Council Edinburgh showcase production last year.

The story centres on the character of Tom, a 55-year-old father suffering with early onset dementia. Using the simplest of scenarios to illustrate his limitations, the piece then goes on to showcase Tom’s recurring memories, sometimes stark and lucid, sometimes disjointed and chaotic, and his struggle to bring clarity to his current situation.

As his daughter Sophie does her best to enable Tom to dress appropriately for his own birthday party, Tom’s mind becomes easily distracted by other clothes he sees in his wardrobe, triggering a mental marchpast of life events – being at home with his mother, messing around with his classmates at school, riding a bike with his friends, a burgeoning love affair, marriage and parenthood. Theatre Re tackle Tom’s existential crises by means of mime, physical theatre and live music. Spoken word is used very sparingly, but occasionally used to emphasise repetition.

After a slow and poignant start, we enter the livid imaginings of Tom’s inner life. As the cast were to explain later in a talk after the performance, memories can serve as residual identities for those suffering with Alzheimer’s, perhaps as repeated ‘riffs’ that remain the very human core of an individual. This is what they have sought to uncover in this piece.

Louise Wilcox as Tom’s daughter Sophie, Eygló Belafonte as friend Emma and Tom’s mum Mrs Denis and Matthew Austin as his friend Matthew all matched Figé’s searing energy in a blistering hour and a quarter shift. This quartet were given the added lift of a live musical backdrop from composer Alex Judd, playing on keyboards, and other looped instrumentation along with percussionist Keiran Pearson. These two provided changing soundscapes that could conjure anything from joyous celebration to angst-ridden darkness. In one glorious celebratory scene Tom struts his stuff to an irresistibly funky beat, joined by the main protagonists in his life.

Gesture can speak eloquently. By example Figé’s hands always described Tom’s inner struggles in ways that words would have failed to do. And the cast’s sometimes jerky and unexpected changes of direction across the stage area could illustrate how the mundane can suddenly appear alien. Simple props – school desks, chairs, and clothing rails were choreographed with precision into the action. Now with 50 performances of this piece under its belt, the cast never loses empathy with its subject while maintaining good pace throughout.

Theatre Re’s commitment to the exploration of life’s frailties should be applauded. This young troupe give it their all and deserve support.   ★★★★☆   Simon Bishop   9^th June 2018