Theatre Review - 2401 Objects

2401 Objects is neither judgemental nor dictatorial, nor, surprisingly, is it even sentimental. It is simply a curious story, sensitively and expertly sculpted into a performance.

Told from the perspective of a neuroscientist (quite literally; the real-life doctor has pre-recorded a blurb detailing his involvement in the case) who visits Patient H and learns about his story. In 1953 experimental surgery was undertaken on Henry Molaison in an attempt to cure his acute epilepsy. A portion of his brain was removed and while the epilepsy appeared to be gone, he was left with severe memory loss and an inability to form new memories. He had also forgotten the last two years of his life. In 2009 Henry’s brain was dissected live online to an audience of 400,000.

The narrative is complex, jumping back and forth in time from Henry’s younger days at home to his post-surgery gloomy hospital room and to our narrator. The story is seamless, slick and imaginative and the tone quietly ominous as we know how Henry’s story must end. A large netted screen rotates like a swing door around the entire stage allowing actors re-position themselves and their props. Behind is another screen on which moving images or facades appear. Impressive enough, the entire structure can be moved back and forth, towards or away from the audience and is accompanied by a loud and jarring scanning sound, as one would hear in an x-ray room.

The medical, scientific aspects of the story are tempered with an unyielding respect for the individual himself. Never is Henry acknowledged a specimen, but rather a (near) fully-functioning individual who seeks an ordinary existence which those around him strive to create. Our empathy is aroused for his family, in particular his mother whose endless patience is admirable and touching.

Beautifully presented, expertly narrated and intensely touching 2401 Objects is a wonderfully gentle piece of theatre you are unlikely to forget.