Writer: Alexander Millington
Director: Helen Millington
Presented by Split Infinitive, What Are We Going to Do When This Is All Over? explores Alzheimer’s disease, memory and the secrets concealed within a marriage. Written by Alexander Millington and directed by Helen Millington, who also perform the roles of Alexander and Helen respectively, the production follows two theatre-makers whose relationship becomes increasingly complicated as Helen’s memory deteriorates. Its premise is promising, even if the staging does not always realise the script’s potential.
One of the production’s strongest elements is its use of music as a narrative device. Songs recur throughout the performance, shifting from a complete musical number into shorter, increasingly fragmented passages. This progression mirrors Helen’s deteriorating memory, allowing the musical structure itself to reflect her changing experience. Rather than merely accompanying the action, music becomes part of the play’s dramatic language.
Helen Millington gives a convincing performance, particularly in the first half, drawing the audience into the character’s increasingly uncertain reality. A particularly effective moment comes when Alexander asks Helen whom she is speaking to, suggesting that she may be seeing people who are not there. The question unsettles the audience’s understanding of the scene, exposing the gap between Helen’s perception and the reality experienced by those around her. Millington makes this ambiguity accessible without reducing Helen to her symptoms.
Audience interaction adds immediacy to the intimate setting. The script also sustains a developing sense of mystery, with a further turn near the conclusion that rewards the audience’s attention without revealing the play’s secrets.
The production’s main weakness lies in its uneven dramatic rhythm. Alexander’s opening direct address establishes a self-referential theatrical framework, but the extended musical sequence that follows delays the development of the central conflict. Although the purpose of the opening song becomes clearer as the music grows more fragmented, the transition lacks the fluidity needed to sustain the audience’s initial engagement. Tighter pacing and more cohesive transitions would allow the script’s stronger ideas to register more fully.
What Are We Going to Do When This Is All Over? has a strong dramatic foundation, supported by thoughtful musical choices and a convincing central performance. Its exploration of memory, perception and human relationships reveals considerable artistic ambition. This is a production with genuine promise and a distinctive theatrical voice, one that deserves further development and a much wider audience.
Runs until 17 October 2026
