KAZUO Ishiguro’s 2005 science fiction novel, one of several descriptions of this thought-provoking work, is not the sort of bedside book you pick up and casually read a few pages before going off to sleep. With its frightening images of the lives of children cloned for the sole reason of providing human organs in order to continue experiments that will lead to longer, more disease-free lives for future generations, the morality of scientific experiments (even when carried out for the most honest of reasons) is brought into question, in this book that sends your mind racing in several different directions at once.
The 2010 film adaptation prove to be a success, as did Japanese stage and television versions. A multi-million dollar US TV series, however, was abandoned before it reached the screens.
Suzanne Heathcote was taking on quite a task therefore when she agreed to adapt for the stage a book which has so many different interpretations and metaphors. Is it about the evils of death or banality, the human experience and memory, a parable on morality, an allegory on slavery, or perhaps the dehumanisation of people in order to breed perfect human beings?
She uses the character of 31-year-old Kathy, (a beautifully structured portrayal by Nell Barlow), to act as narrator, taking us through the lives of a small band of cloned children from their school days at Hailsham, where they are programmed to accept that they will donate their organs and die at an early age for the sake of science, and the greater community. In particular, we follow Kathy, her best but untrustworthy friend Ruth (Matilda Bailes), who slides skilfully from selfish being, stealing Kathy’s most treasured possession, a tape of the song Never Let Me Go, and her love, Tommy, a lovely and understated study of little self-confidence from Angus Imrie.
The ramifications of the relationship ending in a reconciliation between the girls on Ruth’s deathbed, and loving reunion of Kathy and Tommy, leading to a meting with meeting with retired head teacher Miss Emily (Susan Aderin), and her emotional friend and partner Madame, (Emilie Patry), as the young couple seek explanations and try to avoid their inevitable tragic end, was the stuff that horror pictures are made of.
There were many other sub-plots for director Christopher Haydon to lead his actors through, all done at a thoughtful pace as Tom Piper’s efficient multi-purpose set evolved around them. The problem for adapter Suzanne Heathcote was to keep all these changing themes, often switching back and forth in time, in the air at the same time without dropping one or two, which could confuse the moral and practical issues.
Those who had read the book or seen the screenplay had an advantage over those coming to the story for the first time. These thoughts were strengthened by conversations during the interval and after the play ended, where quite a few experienced theatregoers were still grappling with what they felt was a muddled, not clearly presented scenario, whilst others had obliviously been completely captivated by the adaptation.
If you are in the mood for a thoughtful night at the theatre, you can make up your own mind by going to the Bristol Old Vic any evening between now and Saturday 23rd November, with matinees on Thursdays and Saturdays.
GRP