Incognito, Bush Theatre - theatre review

In his bright new play Nick Payne presents three stories which ponder the relationship between memory and identity
Brain study: Amelia Lowdell is superb as psychologist Martha ©Alastair Muir
Alastair Muir
Henry Hitchings3 June 2014

Nick Payne, who two years ago had a big hit with the supple and scintillating Constellations, returns to the subject of neuroscience in his new play, which premiered at Suffolk's Hightide Festival last month. It's a dense 90-minute piece that ponders the relationship between memory and identity, exploring the problems caused by amnesia while also probing issues to do with free will and heredity.

Payne presents three loosely connected stories. In the present there’s Martha, a psychologist struck by the extent to which the brain provides us with a narrative that stabilises what would otherwise be a shaky sense of the world. In 1953 there’s Henry, a patient who undergoes experimental surgery to cure his epilepsy — and pays a high price. Finally, there’s Thomas Harvey, who in 1955 stole the brain of Albert Einstein after his autopsy, with the intention of studying it in private.

As these three characters confront the often bruising demands of society, four actors share more than 20 parts. They skid between roles, barely pausing for breath as they switch locations. Sargon Yelda is the most nimble member of a cast that includes Amelia Lowdell (superb as Martha), Alison O’Donnell and Paul Hickey.

The results are intellectually exciting, and Joe Murphy’s elegant production benefits from a simple yet inspired sound design by Isobel Waller-Bridge. The fractured approach to storytelling could be confusing, but instead has a seductive fluidity. Again and again there’s an impression of continuities, oblique connections and painful resonance. The characters, though apparently disparate, are united in their search for meaning.

Payne also illuminates the ways theatre, as it constructs narratives that elucidate our experience, works like the brain. As we race to keep track of the play’s different elements, we are forced to reproduce the processes by which we weave sustaining myths about our everyday lives.

The writing is bright and shrewd, full of sharp observations and intelligent humour. And as in Constellations, Payne beautifully articulates a sense of the sheer complexity and fragility of existence.

Until June 21 (020 8743 5050, bushtheatre.co.uk)

Latest theatre reviews

1/50

Create a FREE account to continue reading

eros

Registration is a free and easy way to support our journalism.

Join our community where you can: comment on stories; sign up to newsletters; enter competitions and access content on our app.

Your email address

Must be at least 6 characters, include an upper and lower case character and a number

You must be at least 18 years old to create an account

* Required fields

Already have an account? SIGN IN

By clicking Create Account you confirm that your data has been entered correctly and you have read and agree to our Terms of use , Cookie policy and Privacy policy .

This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged in