“Before I Forget” centers on three generations of First Nations women confronting the challenges of early-onset dementia. Written and directed by Kamarra Bell-Wykes, the play explores the life of Faith Well, a revered linguist and academic dedicated to preserving the Badtjala/Butchella language, as her cognitive decline impacts her family and their connection to heritage.

The story unfolds on Faith’s ancestral land near Noosa, where she lives in a dilapidated home with her daughter Karma and granddaughter Hope. Faith’s memory lapses create tensions, with Karma eager to sell the property and arrange care, while Hope seeks a deeper link to her Indigenous roots. The dynamic between the three women highlights generational struggles, unresolved resentments, and differing approaches to cultural identity.

Roxanne McDonald brings complexity to the role of Faith, portraying her as simultaneously sharp, defiant, and vulnerable. McDonald’s performance captures the shifting nature of dementia, from lucidity to disorientation, as well as the strength derived from enduring wisdom. Tyallah Bullock plays Hope with a hopeful yet troubled energy, navigating her own challenges as she seeks reconciliation within her family. Melodie Reynolds-Diarra’s Karma is presented as worn and conflicted, embodying the practical burdens caring for a parent with dementia can impose. Nathan Wright appears as Jet, Faith’s estranged son, whose introduction into the narrative is less effective, with the character’s predictable behaviors drawing criticism for lacking nuance.

The play’s early scenes feature sharp, witty exchanges that evoke authentic familial interactions and provide moments of levity. However, critics note a decline in momentum as the narrative progresses, with extended scenes marked by repetitive physical actions and heavy-handed exposition. Elements addressing domestic violence and misogyny are incorporated but are not fully developed, leading to a sense of diminished dramatic tension. Additionally, some observers find that the stakes remain low, and the emotional arcs too closely aligned, limiting opportunities for deeper conflict or debate.

While the central themes of memory, language, and legacy hold significant emotional and cultural weight, the script occasionally lapses into didacticism, undermining its impact. A particularly poignant speech by Faith regarding historical trauma is reportedly undercut by misplaced comedic moments, highlighting inconsistencies in tone.

Despite narrative shortcomings, the play’s conclusion, which depicts the women uniting at an informal memorial event, rekindles much of the initial emotional resonance. Overall, “Before I Forget” offers a heartfelt examination of intergenerational relationships and the preservation of Indigenous knowledge, anchored by committed performances that elevate the material.