With an empty spotlight where the physical form of Dr Jacopo Annese should have stood, his recorded voice introduces the audience to the case of Henry Molaison, ‘the most famous brain in the world’.2401 Objects addresses its audience as if they were sitting in a lecture hall waiting to view the medical case study of Henry Molaison and his brain. This production takes the perspectives both of Henry Molaison and the doctor who dissected his brain live on the internet to over 400,000 people in 2009, Dr Jacopo Annese. His recorded voice interjects the presented case with memories of anticipation before the dissection whilst we’re filled in on Henry’s own memories of living with his parents and his last years at a hospice. This disjointed memory pattern is fantastically achieved through a multimedia show projected onto a huge semi-translucent black screen. It is so significant in this production that it can arguably be cast as the fifth member in this company.This co-production from Analogue, Oldenburgisches Staatstheater and the New Wolsey Theatre successfully finds a new, exciting and fresh style of staging from the use of the momentous screen. It dominates the stage and acts as the conductor of the case, picking and choosing which one of Henry’s or Dr Annese’s memories to re-live. The projections were innovative in their interaction with the actors on stage and allowed clean transitions from scene to scene. One excellent moment involved a live feed of a tray of plane food, filmed from a bird’s eye view, being eaten whilst the screen also reveals a window so we could watch the process through our own eyes and those of the camera too. The most entertaining acting came from the great chemistry shown between Henry and his parents, with quickfire lines that cut up and jump on each other swiftly. It made for a speedy pace and kept the dialogue fresh, with a deserved mention to Pieter Lawson who captured the audience with his charming style.However, by the end of the presentation I still couldn’t quite comprehend the significance of the 2009 dissection and so didn’t fully appreciate the breakdown of Henry’s life presented. It would have been interesting if the company had pushed more into the verbatim style of theatre that it takes from. More transcripts from other doctors that studied the case of Molaison, or personal accounts from close friends and family could enhance its case study and lecture hall approach. There is definitely more space for them to leave the platform of the relationship between performer and audience member within theatre and head towards an interesting route of audience and multimedia participation.This performance is captivating through its use of exceptional multimedia interaction that brilliantly stages their innovative ideas with exciting direction and delivery. I anticipate more great work from this inventive company.
