Review: In Other Words, Arcola Theatre

In Other Words is a tender, devastating exploration of love, memory, and loss. At its centre are Arthur and Jane: a couple whose lives are entwined by chance, Frank Sinatra, and the slow encroachment of Alzheimer’s disease. What begins as a charming romance, sparked by an accidental drink spillage and a shared fondness for ‘Fly Me to the Moon’, transforms into a poignant meditation on what it means to hold onto someone as they begin to fade away. 

The play’s structure transcends time, weaving past and present, moving between outer body narrative recollections and lived experiences. Matthew Seager (Arthur) and Lydia White (Jane) shift rapidly, sometimes even brutally, between dialogue and direct address, guiding us through the stages of their relationship. This temporal fluidity occasionally jars, though, as the transitions are brisk and initially disorienting. Perhaps there are some moments which would benefit from being given a moment to breathe. That said, the emotional core remains strong throughout the piece. Arthur reveals that he plays ‘Fly Me to the Moon’ whenever he’s done something wrong, and it wins Jane round every time. As we witness his decline, this shared musical refrain becomes a bittersweet motif, underscoring the power of song to evoke memory and connection.

The staging is stripped back: two armchairs, a rug, and a lamp suggest a shared domestic life, now enclosed and shrinking. While the intimacy of the space suits the story’s emotional focus, it sometimes restricts the movement on stage. For instance, the dancing felt cramped and constrained. Still, Will Alder’s lighting design subtly expands the world: the faint illumination of a TV in the corner, the sterile glare of a testy hospital appointment, or the isolation of a spotlight all evoke shifts in setting and mental state. Iida Hägglund’s sound design also works wonders, skilfully capturing Arthur’s internal disorientation through vocals echoing, distorting and swirling around the space. It mirrors Arthur’s inability to piece his thoughts together during his decline. The ominously empty ticking of a grandfather clock throughout the play also helps add to the sad sense of isolation creeping in for both characters. 

Seager’s portrayal of Alzheimer’s is masterful. The early subtlety and gradual deterioration is devastatingly understated at first, developing into a complete disconnection as time goes on. This is made all the more painful by his earlier warmth: ‘How were you meant to know if I didn’t even have a clue?’, he asks. That tenderness all but disappears in a short space of time. White brings a quiet strength and vulnerability to Jane, whose patience and sorrow are conveyed with heartbreaking restraint. Their chemistry is palpable, especially in the moments between dialogue with muted ad-libs as they come together to dance. By the end of the 70-minute performance, I looked around the room and saw the entire audience either on the verge of tears or blowing into a tissue. This is a play that doesn’t just tell a story; it envelops you in it. With a richer soundscape than in previous revivals, In Other Words has grown into something quietly extraordinary. It reminds us, gently but powerfully, that even as memory fades, love can still be heard: in a lyric, a rhythm, a familiar voice.

Written by: Matthew Seager
Directed by: Andy Routledge
Produced by: Tom Dixon & Matthew Seager
Sound Design by: Iida Hägglund
Lighting Design by: Will Alder
Choreographed by: Holly France
Presented by: TBC Productions

In Other Words plays at the Arcola until Saturday 24 May 2025.