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    After Life (NHB Modern Plays)
    After Life (NHB Modern Plays)
    After Life (NHB Modern Plays)
    Ebook100 pages59 minutes

    After Life (NHB Modern Plays)

    By Hirokazu Kore-eda

    ()

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    About this ebook

    If you could spend eternity with just one precious memory, what would it be?
    A group of strangers grapple with this impossible question as they find themselves in a bureaucratic waiting room between life and death. Encouraged by enigmatic officials, they must sift through their past lives to choose their forever.
    Adapted from Hirokazu Kore-eda's award-winning film, After Life is a surreal and powerfully human look at the way we view our lives, and a haunting meditation on what it is to live – and to die.
    Written by Jack Thorne from a concept by Bunny Christie, Jeremy Herrin and Thorne, After Life was first performed at the National Theatre, London, in June 2021.
    It was directed by Herrin, in a co-production with Headlong, by special arrangement with Buena Vista Theatrical.
    'A compelling vision of eternity' - The Times
    'A powerful show with subtlety and tenderness' - The i
    'A great idea, charmingly done... Although After Life is based on a film, its best parts are pure theatre' - Guardian
    'Miraculous... an absolutely superb play... I was incredibly moved by it... a properly transcendent piece of theatre' - Time Out
    LanguageEnglish
    PublisherNick Hern Books
    Release dateNov 18, 2021
    ISBN9781788503914
    After Life (NHB Modern Plays)
    Author

    Hirokazu Kore-eda

    Hirokazu Kore-eda is a Japanese film director, producer, screenwriter, and editor. He began his career in television and has since directed more than a dozen feature films, including After Life (1998), Nobody Knows (2004), Still Walking (2008), and After the Storm (2016). He won the Jury Prize at the 2013 Cannes Film Festival for Like Father, Like Son and won the Palme d'Or at the 2018 Cannes Film Festival for Shoplifters.

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      Book preview

      After Life (NHB Modern Plays) - Hirokazu Kore-eda

      ACT ONE

      Scene One

      The audience enter a big and impersonal room.

      There is something magnificent about it, there’s something hugely bureaucratic about it.

      But most importantly of all –

      – there is a stench of death about the place.

      Two people, TWO and FOUR, are cleaning away the debris and shoes. The debris is strange. The shoes are stranger.

      TWO picks up the shoes and puts them in a box. Which he then seals and marks with yesterday’s date. Whilst FOUR sweeps the rest away.

      After he’s packed the shoes and she’s swept the floor, they get out mops, and carefully and swiftly mop the floor. They’re good cleaners.

      All trace of what was is removed.

      TWO. Do we have clearance?

      He gets a nod from stage management.

      They leave the stage.

      And then a bell tolls. Three times.

      Our guides appear carrying chairs.

      Suddenly the lights change.

      And steam comes in from all the entrances as they are sealed.

      ONE, TWO, THREE, FOUR and FIVE enter the space.

      FIVE looks around the gathered.

      FIVE. You’d hope we were better looking. With an entrance like that, right?

      ‘MONDAY’ appears projected onto the haze.

      Good morning. Good afternoon. Good evening. I think you understand the situation but I am obliged to inform you officially. Yesterday you passed away. I am very sorry for your loss.

      He smiles.

      You will be staying here with us for one week. Everyone has a private room – and you will be fed, watered and well looked after. No spa facilities I regret to say, as one woman – an American – asked the other week. She wanted to – steam. But we encourage you to relax and make yourself comfortable. However, while you’re here, there is one thing we must ask you to do.

      He looks around.

      We would like you to choose one memory, which is most meaningful or precious to you. One which creates a feeling you’ll be happy to – endure within. There is a time limit for this of three days. Once you’ve chosen your memory our staff will do their best to recreate it. On Saturday they will be presented to you and you will move on, taking only that memory with you.

      He looks around the faces.

      This process can be difficult, it can be painful even, but we are dedicated to try and make it as beautiful as possible for you. Or as beautiful as we can without steam. Thank you for listening. May your memories make you fly.

      Scene Two

      FOUR is pacing up and down. TWO sits behind a desk. Reading a book.

      FOUR. What are you reading this week?

      TWO raises up his book.

      A new one. Again. How do you do it?

      TWO. Perseverance.

      There’s a moment between them. FOUR starts pacing again.

      FOUR. I always get so fucking nervous before these things.

      TWO. Do you have to use that word?

      FOUR. I’m sorry. I get so – mega-nervous.

      TWO. ‘Mega.’

      A buzzer sounds.

      FIVE. Number 286.

      FOUR. There isn’t enough of us. Even Five says so.

      TWO puts down his book. He looks at the time.

      TWO. Are you ready?

      FOUR. I’m ready.

      TWO. Go on then.

      FOUR. Number 286.

      BEATRICE. Here.

      She stands.

      TWO. Good morning.

      BEATRICE looks dazed.

      Help her. Help her.

      FOUR runs up to help her.

      Are you comfortable with the step?

      BEATRICE comes down the step.

      BEATRICE (quietly). I’m fine, dear.

      FOUR. You are Mrs Beatrice Killick?

      BEATRICE (quietly). Miss.

      As they reach TWO, TWO indicates on the form where FOUR has got it wrong.

      FOUR. Miss. I’m sorry. I need your date of birth – for confirmation.

      TWO pulls out a chair for BEATRICE to sit.

      BEATRICE (still very quietly). I was born on 3rd April, 1930.

      There’s a silence.

      TWO. Miss Killick, we are – needless to say – very sorry for your loss.

      BEATRICE. Yes. He said. I have a cat.

      TWO. Is this the memory you’re thinking about?

      BEATRICE. No. I have a cat. At home. A cat. I’m scared for it.

      TWO. Of course you are.

      BEATRICE. Can you help?

      TWO. Sadly not.

      BEATRICE. No one will feed it.

      TWO. They will.

      BEATRICE. No one will find

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