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In an imagined England, people are replicated into clones that are created for organ donation when the clones reach the age of 18. Thus, a dystopian world is created with its own language: professors are called guards, „the possible” is the human model after which you are replicated, postponing refers to the possibility of spending three more years before your organs are donated, Norfolk is the place where you find everything that you have lost and „to complete” means „to die”. These words bear their mark on the childhood, the adolescence and the youth of the characters. The only permissible stages of life are recovered through the memories of Kathy H. who relives the classes she took at Hailsham, the friendship she had with Ruth and her love for Tommy D.
There is no rebellion and no desire to escape, there is only a very limited amount of time to live and in which you are required to love.
The development of the play focused on the creation of simultaneous planes in which the past interferes with the present, the video images project spaces in constant transformation and the live music shapes the unfolding of events. The images, music and gesture support a trail of memory which aims for the innocent gentleness of a story about friendship, love and hope.
„Never let me go” brings our own humanity into question. Thus, we can trace the coordinates of our own identity through the gaze directed towards the other. The clones represent the otherness by means of which we confront our passions, our failures and limits, filtered by acute sensitivity.
This will not be a lesson on morality but an invitation to see the beauty of letting oneself go and of unconditional love.
Mădălina Timofte
