Memoriam deals with the heavy intersection of grief, survivor testimony, and corporate exploitation. How do you approach balancing the character's personal duty to her family's legacy with her professional role as a buyer for this tech company?
I think what’s really interesting about the play is that we meet Rachel in a moment where she thinks that those two things are not out of balance. Rachel believes powerfully in the work that this company does and in how her family life can successfully intersect with that. What’s interesting about the journey that Rachel goes on in the play is the discovery that it’s not as simple as she first believed and that’s where the challenge lies.
Shares of your character's storyline hinge on a high-stakes generational divide opposite Beverley Klein's Rivka. What has it been like developing that central family relationship in rehearsals alongside such a West End veteran?
It’s been such an honour, I have tried to learn as much as I can from her. I am fascinated by families so it’s been really fun for us to delve into the family life and dynamics of these characters together.
The play presents a near-future where core human memories can be extracted and sold as VR experiences. If you personally had the choice to preserve one specific memory forever in high-definition VR, what moment would you choose?
The play has made me think about my own family a lot. There is almost nothing I wouldn’t give to see my grandparents again - to be able to revisit them in high definition VR, whenever I wanted, would be such a gift. This is what is so interesting about the questions that are raised in the play. There is probably something we could all think of that we would preserve in this way if we had the chance, and where does that lead?
Memoriam comes to Southwark Playhouse Borough until 21st November 2026. For tickets and more information click here.