Review by Simon Jenner, August 20 2026
★ ★ ★ (★)
If memory is your identity, wouldn’t you want to ensure you keep its most precious moments forever? That is, in pristine condition with eternal re-runs; and never forget? And wouldn’t you want to erase personal traumas, things worth forgetting? Welcome to Before We Forget, created by Amber Ruby and the 18-25 Bush Young Company whom she directs, at Holloway Theatre, the Main Bush Space, till August 22. A brief run; but if you know the Bush, or in the area, don’t hesitate.
Recall is a U.S.-based AI-enabled organisation, now running for four years. In all that time it’s taken on clients but is only now about to go live. Various employees go through routine assessments to see how they’re faring: in reality a kind of surveillance.
It’s an exciting 75-minute premiss with a dizzyingly active cast of 15 that could easily extend to two hours. Snappily directed by Ruby, the strands keep flashing through, enabled and clarified by designer Georgia Wilmot’s use of drawn netting screens at strategic points where boundaries matter. Lit by Aaron Molloy with some striking moments, little detracts from the play itself, where Josh Anio Grigg’s sound underscores glitch moments and scene-shifts. There’s a bit of fourth-wall handshaking with the front row.
l-r Shekinah Singh and Meg Gillard in Before We Forget at Bush Theatre. Photo Credit: Harry Elletson,
Recall’s youthful founder Michael Emory (Ayan Philip) apparates on Alicia Quah’s giant projected video: affable and as one woman points out “fit”. Are they being conditioned to adore?
There’s the clients themselves, a word some find increasingly problematic. And the slow scalloped edge of discontents. People on both sides who feel something’s terribly wrong. How can your whole being, who you are, be commodified? And what if there’s glitches?
Central to this – the creative cast use their own names when they act – are Meg Gillard and Shekinah Singh. In the play they’ve had a painful relationship: something isn’t right and they’ve opted to erase their memories of it altogether. Touchingly though they keep bumping into each other: carrying a pot of pinks or geraniums in the rain, as both make a beeline for it. They end sharing an umbrella and Meg invites Shekinah back. Each time they start though, something happens. And what if not everything’s erased? Something of a previous encounter surfaces not present this time. Where are the memories really?
Josephine Surminski is one standout: a Recall core enabler, speaking at comically quickfire speed to new clients or even colleagues. For two years she’s been loyal and continues, until. Rosie Owen is another strong presence: a cheerleader, along with ebullient Zarmeeneh Khan who radiates and rivets attention, and loyal Mason Thomas-Downes who leads handshakes and impresses with his take on oleaginous loyal people: who’ve not worked out that work doesn’t love you back. Priscilla Oshinibosi though is altogether more sceptical.
They lead clients like Olise Essien, Abbey Oyetunde, Ethan Simm Jet Lama, Ruweyda Sheik-Ali, Jess Senanayake, Lawrence Ssonko, Mannan Guled – another fine, nuanced performance.
From the opening and towards the end, the voices of discontent and anti-capitalism rise – as well as pro-identity and integrity. Tropes familiar to us of how spraying a bank with red paint can now get 8-10 years and lifetime labelling as a terrorist. The atmosphere’s neatly realised through disruptions to the giant apparition of Philip’s face and voice distortion, and a cellarage access to various power-points. “We can’t bring it down but we can hit it where it hurts” the protestors conclude, enabled by disaffected workers. The play ends in celebratory overthrow.
l-r Zarmeeneh Khan and Priscilla Oshinibosi in Before We Forget at Bush Theatre. Photo Credit: Harry Elletson
The play spins on a cat’s cradle of narratives, energised and fleet, though not always clear. Nor was every voice, and some voice-production might help such a headlong narrative. Not every story lands on its feet either, even for those of us who love such velocity. Though billed at 90 minutes, this came in (as we were told) nearer 75, though I timed it as 80. It could extend to say 110 without losing focus and gaining individuality, consequences and skeining some of the themes. Too much is in shorthand.
Before We Forget reaches the converted (which includes me) but doesn’t explore the implications of evils it sets quite far enough, save for Gillard and Singh. So we see the dystopic world webbing over us. Nevertheless, much laughter punctuated the production: this is an audience who gets it. It’s exhilarating and a fine brief evening out to see how, despite all the cuts and starvation of opportunities, vibrant voices in writing, acting and all creatives find a refuge and a springboard at the Bush.
Production Dramaturge Frey Kwa Hawking, Production Manager Corey Bovell, Stage Manager Dynzell Muguti, ASM Alicia Quah, Sharna walker, Producer Holly Smith, Associate Producer Joanne Leung, Head of Technical and Buildings Jamie Haigh, Scenic Artist Christina Angus, Lighting Programmer Ed Scragg, Marketing Campaign Karishma Kaur, Press Manager Martin shippen, Production Assistant Kalaa Shepnekhi-Boston. Photo Credit: Harry Elletson.
Ethan Simm in Before We Forget at Bush Theatre. Photo Credit: Harry Elletson