AFTER THE ACT

Royal Court

★★

“it remains an interesting and worthwhile history lesson”

Jenny lives with Eric and Martin was just another children’s book in 1988. It wasn’t new and wasn’t even originally British, as it had first been published in Copenhagen in 1982. So how did this book become the starting point of a campaign, which ultimately led to the inclusion of Section 28 within the Local Government Act of 1988? After the Act is an entertaining musical, which tells the story of Section 28 through the eyes of those most closely affected.

‘Section 28’ refers to a specific clause with the Local Government Act of 1988, which prohibited schools from ‘promoting’ homosexuality, the wording of which was ambiguous enough that it resulted in the restriction of teaching of the acceptability of homosexuality, particularly concerning family relationships.

It is a strange era to look back on. Views that would be considered to be politically extreme nowadays were front and centre and were actually winning the argument. An imaginary enemy had been conjured up, largely driven by ignorance and misunderstanding. After the Act explores this period of recent history from multiple vital perspectives: teachers who could not speak up for risk of jeopardising their careers, students for whom bullying and discrimination had become a part of their everyday existence and the activists who fought hard to educate people and bring about real change.

The play splits fairly evenly into two halves. In the first act, we see the build-up to the passing of the Act in 1988. The tone is set clearly early in the play. People’s concerns about gay people are not challenged, whereas protestors are dismissed as mad rabble-rousers. Two scenes stand out in the first act. The first is where protestors have made it on the news at 6 on the BBC but are being silenced (fitting for the time) to not disrupt the broadcast. The second is the re-enactment of protestors abseiling into the House of Lords following the passing of the bill. These scenes are excellently written (Billy Barrett and Ellice Stevens) paying tribute to the real-life activists involved.

The second act covers the aftermath to the passing of the Act before it was eventually repealed in 2003, detailing the experiences of people who had to live through this time period and how it affected them well beyond the law had been changed. This should be the point where it all comes together. However, the biggest issue is the contradiction between its comedic elements and the hard-hitting truths that it wishes to divulge. The tone of most of the first act is strangely uplifting and funny, which is maintained through to the start of the second act, when one of the performers enters the stage dressed as Margaret Thatcher and sings as the former Prime Minister.

The individual elements of the play are interesting and well-performed, and all of the cast display an impressive range as they move from character to character bringing to life more people’s stories from this period. However, these parts often work against each other without a clear link to the central narrative, rather appearing more like a slide show of different characters.

Keyboard and drums add a lively accompaniment to the performances on stage. Sadly, the backing music and use of songs is often overdone and is too much of an ‘ever-present’ during the show rather peaking for significant moments, which does make it a little tiring, giving the show an impression of ‘more bark than bite’. Overall, despite its flaws as a production, it remains an interesting and worthwhile history lesson, which deserves to be taught.

AFTER THE ACT

Royal Court

Reviewed on 27th May 2025

by Luke Goscomb

Photography by Alex Brenner

Last ten shows reviewed at this venue:

MANHUNT | ★★★★ | April 2025

A GOOD HOUSE | ★★★★ | January 2025

THE BOUNDS | ★★★ | June 2024

LIE LOW | ★★★★ | May 2024

BLUETS | ★★★ | May 2024

GUNTER | ★★★★ | April 2024

COWBOIS | ★★★★★ | January 2024

MATES IN CHELSEA | ★★★ | November 2023

CUCKOO | ★★½ | July 2023

BLACK SUPERHERO | ★★★★ | March 2023

AFTER THE ACT

★★★

“a fun-filled show, packed with bubbly pop numbers and heartfelt performances.”

The net is wide for source material for musicals so an adaptation of a hit manga turned anime feels like a ripe opportunity both for visual delights, and for ticket sales to an existing fan base.

The story is simple and sweet. It follows high schooler Kōsei’s (Zheng Xi Yong) struggle to recapture his musical ability after the loss of his mother. He is helped by his best friend, tomboy Tsubaki (Rachel Clare Chan) and by a mysterious new girl, Kaori (Mia Kobayashi) who is passionate about showing him the power of his talent.

Some aspects of the story’s translation to stage work beautifully – it is a story with music at its core. The show works well to weave in classical pieces, balancing them with Frank Wildhorn’s catchy and fun numbers. Zheng impressively plays a piano which remains ever present on stage. It is a love story of musicians, and a love letter to music.

Adaptation is a battle between what to leave in and what to cut. Rinne B Groff, who wrote the English language book, has made some surprising choices. A number about bike riding comes a bit out it nowhere – though the choreography by director and choreographer Nick Winston shines particularly in this scene. In a relatively short musical, there is less chance to develop story so each scene really counts. The plot unravels slowly, then all at once.

The tangled teenage triangles, united by the power of music are brought to life by Zheng’s believable anguish, Kobayashi’s mesmerising breathy vocals, Chan’s cartoonish enthusiasm and Dean John Wilson’s excellent comic timing. Lucy Park does a surprisingly moving turn as Kōsei’s mother, it’s almost a walk on part but she brings true emotion to it. Theo Oh is adorable, one of three alternating young Kōseis who make the audience audibly coo. Ernest Stroud and Erika Posadas are quiet scene stealers as resentful lesser piano competitors. And Chris Fung smashes the funniest moment in the show.

Playful nods to the manga shimmer (thanks to Rory Beaton’s lighting design) across Japanese screens which surround the set (Justin Williams). A cherry tree and a piano mark opposite ends of the stage. Between that and carved wooden steps, the set anchors the play with a much-needed sense of place. Without it, the show might feel eerily devoid of setting. There is a clean-cut all Americanness to Groff’s dialogue and Miller & Green’s lyrics which make the already contrived situations feel at times laughably silly. This silliness is not helped by everyone being in school uniform (designed beautifully by Kimie Nakano).

For 2024 a show where female characters prop up the main male story, at times risking their own health and wellbeing, does feel a little dated. There’s also a predictability to it, which alienates the drama a little.

However, for a younger audience or fans of this particular genre, this could be a smash hit. The teenager beside me, a fan of the anime, was enraptured to see his favourite characters on stage. Despite a little cheesiness, this is a fun-filled show, packed with bubbly pop numbers and heartfelt performances.

Tag Archives: Ericka Posadas

AFTER THE ACT

★★

Royal Court

AFTER THE ACT

Royal Court

★★

“it remains an interesting and worthwhile history lesson”