In a world where the margins are often overlooked, Alexander Zeldin's latest work, ‘Care Review’, shines a searing light on a community that is all too easily forgotten – the elderly in care homes. This powerful portrayal of dementia and the lives of those affected raises urgent and thought-provoking questions that deserve our attention.
The play, set in a locked dementia ward, offers an unflinching glimpse into the lives of the elderly, highlighting the acute loneliness that can accompany old age. It's a topic that writer-surgeon Atul Gawande also explored in his book ‘Being Mortal’, questioning why autonomy should be surrendered as one ages and becomes more vulnerable.
At the heart of the play is Joan, played by the exceptional Linda Bassett. Her character, who believes her stay is temporary, serves as a vessel for the audience to witness the raw emotions and experiences of those in care. The opening scene, depicting Joan's disorientation, sets the tone for a deeply moving and intense journey.
Beyond Joan, we meet a diverse cast of residents, each with their own unique stories and struggles. From Agnes, reminiscing about her husband and otter colony, to Paula, a former midwife, their memories are jumbled, yet powerful. The actors, in their sublime performances, capture the essence of these characters, blurring the lines between humor and heartache.
One of the most striking aspects of the play is its ability to navigate the fine line between comedy and tragedy. Initially, the audience may find themselves amused by the confused conversations, but the tone quickly shifts, leaving us with a searing and savage portrayal of the reality of dementia care.
A transformative moment occurs when Joan and John, a fellow resident, share a hug. In this simple act, we witness the profound loneliness and the need for human connection. It's a powerful reminder of the emotional depths that can be found even in the most challenging circumstances.
The political undertones are delicately woven throughout the play, highlighting the lack of resources and the painful monotony of daily life in care homes. The characters' feelings of being lost or hidden away are palpable, and the momentary blackouts represent the emptiness between family visits. Rosanna Vize's set design enhances this sense of institutionalization, while also showcasing the love and care that can exist within these spaces.
One particularly moving scene depicts Joan receiving a bed bath from Hazel, the senior carer. In this intimate moment, we see how professional care can be a form of love, a sentiment that is beautifully captured as Joan kisses Hazel during the bath. It's a silent, biblical moment that speaks volumes about the human connections formed in care homes.
‘Care Review’ leaves us with a sense of shock, disbelief, and a sad outrage. The statement, “Someone has to be responsible for what’s happening to us,” uttered by the character Simone, hangs heavy in the air. It raises the question: Are we, as a society, doing enough to ensure the well-being and dignity of our older citizens?
Personally, I think this play is a wake-up call. It challenges us to reconsider our approach to dementia care and the value we place on the lives of the elderly. While the heroism of carers should never be understated, the play suggests that there is indeed another, better way to care for our older generations.
In my opinion, ‘Care Review’ is a must-see for anyone seeking a deeper understanding of the issues surrounding dementia and care homes. It is a thought-provoking and emotionally charged work that will leave a lasting impact.
