If you want to live longer, you could try exercise, eating well and increasing your sleep. But the couple in Emma Hemingford’s play are embarking on a considerably more radical alternative to guarantee themselves extra decades. Zealous biotech entrepreneur Jay and more hesitant primary school teacher Alice have signed up for gene therapy. After a few consent forms, a quick bit of surgery and a hefty bill, they will gain abundant time – “the most valuable resource there is,” assures their smooth medical consultant.
For Jay and Alice, both in their 30s, it means the clock is no longer ticking on important life decisions. They marvel at their newfound freedom and pressure-free privilege as they plot fancy holidays and consider reserving a whole year for sex. But in this near dystopia, which Hemingford cannily uses as a time capsule of our own era’s hot button issues, they find that this biotechnological breakthrough leads to greater division, inequality and catastrophe.
It is a strong concept with plenty of what-would-you-do? moments, as Hemingford presents a society split between “fixers” who have undergone treatment and “lifers” who accept the natural order. Christopher York as Jay and Emma McDonald as Alice are neatly juxtaposed as the cracks deepen in their relationship, although the latter stages of the drama would benefit from tighter writing. It is refreshing to see a play giving serious consideration to big ideas and Foreverland illuminates our walk through the valley of the shadow of death. But the tension never ratchets up as it does in the schlockier peaks of the “eternal youth” genre, most recently evidenced in The Substance.
Director Frederick Wienand keeps the pace swift on a mostly bare thrust stage that Peiyao Wang has designed as a Richard Serra-like slab of steel. Combined work by Lily Woodford-Lewis (lighting) and Jamie Lu (sound) bring a chilling quality to the set’s medical curtain. Supporting roles are well acted by Valerie Antwi, Emily Butler and Una Byrne but the story would likely have greater effect as either a tighter Lungs-like two-hander about the couple or a more expansive drama giving greater detail on the split in society. At 90 minutes, it intrigues without quite becoming enthralling entertainment.
At Southwark Playhouse Borough, London, until 19 October
