Simon Ward reviews Continuity at The Cockpit Theatre

As a technology entrepreneur, we can take it that the insights that David Sear shares in this dystopian satirical black comedy are based on concepts being seriously considered in the world of the tech bros. Set in 2034, the world is recognisable but subtly different. Not casting too far forward into the future means that the current crop of tech titans are still around, albeit no doubt with some younger, fresher contenders snapping at their heels. So in nine years’ time, Elon Musk (then 63), Bill Gates (79) and Jeff Bezos (70) have the same obsessions, and Tony Blair (81) is also eager to remain involved and relevant. In fact, as they age, it is no surprise that their attentions will turn increasingly to the problem of physical decay. How can the effects of ageing be challenged, or even reversed? Surely it is simply an engineering problem to which a solution can be found. Who is to say that ‘time’s winged chariot’ cannot be halted?

Against this backdrop we meet Stevie (Martin Maynard), wheelchair-bound and bitter since a car crash a couple of years ago. His partner, Alex (Catherine Walston) and child Dylan (Asher Guy) have to deal with the cynicism and grumpiness. His mother, Lesley (Geraldine Hindley), does her best to snap him out of it, not least by throwing herself into ever more reckless and age-inappropriate activities. We learn that even before the accident Stevie was distant and often absent as both a parent and a partner. Material success was his entire focus, which has left him emotionally empty. So when a routine doctor’s appointment with Doctor Cameron (Michael Flintoff) takes an extraordinary turn thanks to the intervention of tech billionaire Y (Christian Burton), Stevie sees he may have one last chance to do something really meaningful with his life, and perhaps even reconnect with his family. While they may not be so sure, the religious zealot Morgan (Iain Mahony) is leading protestors camped outside the clinic who are absolutely convinced that this is unquestionably the devil’s work.

This is nothing if not a play of ideas. From first to last, Sear demands that we ask ourselves the questions faced by his characters. What does it mean to live a good life – is it enough to live a life of which one is not ashamed? How does one summon the courage and will to deal with a random and life-changing accident? How long do you want or need to live? And if the chance came to extend life indefinitely, would you take it? What would be the consequences? What is the ethical response to the possibility of eradicating disease, regenerating damaged cells or even providing brand new lab-grown organs? These are fascinating questions. Perhaps the drama of the play felt overwhelmed by the weight of the ideas.

There is the kernel of a play examining the relationships between Stevie and his family, a meditation on time and its effects. Early on there is a particularly touching scene between Stevie and Dylan, which flashs back to Dylan as a young child running round the garden counting time. But this is swallowed up by the eerily persuasive yet repugnant rhetoric of Y, explaining in an all too seductive way that no individual can be allowed to stand in the way of progress towards the goal of an enhanced humanity. An intriguing and challenging work.

Continuity is running at The Cockpit Theatre, Gateforth Street, London NW8 8EH until Saturday 22nd November