Written by: César Díaz Blanco

The Nature of Forgetting’s choreography, lights, set pieces, music, and more left everyone at the Colwell Playhouse in awe. It is impressive how most of the play happened in a small block of wood, and with only four “full time” actors and two part-musicians/actors. Definitely, a revolutionary idea, with a fully accomplished execution.

The play has a perfect mix of energetic and joyful remembrances and crude present. It perfectly sets the tone at the beginning with a reality that is slow, uncertain for the protagonist, and challenging for his family. And even if this first scene doesn’t struck with the audience, as it doesn’t have any background unless the audience itself has experienced it, the play makes an excellent job on showing how great the past was, and therefore how disheartening the present is, and then explaining how it came to be.

The moments in school go fast at first, there is no pause and it’s all laughter and in sometimes discipline, whenever the teacher showed up accompanied by the loud and tumbling drums. However, the play changes it paces little by little with long pauses in which the protagonist is the only one capable of moving. As this effect becomes more common, we learn that his memories are “corrupted”, the freeze of the remembrances is the signal of a memory that has evolved, that has changed. Towards the end, as the protagonist in the present struggles more and more trying to fit his jacket, his remembrances show his friends and family leaving his remembrance.

The story is told little by little, first by the frustration of the daughter when called Isabella by his father, then with the sound of a loud crash, that is not remembered completely until the end. We learn that Isabella is no longer among them. The ending finishes this great story by totally shifting to the present, Tom does not think about the past anymore, he appreciates and yearns for Isabella, but now he is in the present and he acknowledges it by calling Sophie by her name for the first time.

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