Tag Archives: Libby Todd

Afterglow

Afterglow
★★★½

Southwark Playhouse

Afterglow

Afterglow

Southwark Playhouse

Reviewed – 11th June 2019

★★★½

 

“shortcomings are largely made up for by three exceptional performances from the cast”

 

S. Asher Gelman notes that polyamory is a subject that’s seldom broached in art, and he’s not wrong. Luckily, his play Afterglow is here to remedy that, following a successful Off-Broadway run in 2017 and 2018, which bravely gives a voice and a platform to an often ignored or stigmatised type of relationship.

Centred around husbands Josh (Sean Hart) and Alex (Danny Mahoney), Afterglow explores the impact that Darius (Jesse Fox) has on their open marriage when their friends-with-benefits arrangement starts to develop into something much heavier with Josh, leaving Alex feeling excluded. The play’s frank attitude towards sex (it opens with a threesome and features a significant amount of full-frontal nudity) allows for a poignant and thought-provoking interrogation of love, intimacy, jealousy, and trust in non-traditional relationships.

Although Gelman’s script doesn’t always feel like it’s taking these themes are far as it could, however, it is well-paced and sporting a heft of relatable and quirky dialogue (for example, a running gag where Josh and Alex refer to their forthcoming surrogate child by the fruit that the foetus is currently the size of). The mechanics of the writing can be a little too obvious, as one character will contrive a reason to leave the stage just so that the other two can remain alone; yet it also never feels like Gelman pulls each thread enough to facilitate a truly satisfying climax. These shortcomings are largely made up for by three exceptional performances from the cast though, as the detail and nuance that their portrayals bring exacerbate the core themes in multifaceted ways. Hart and Mahoney deliver a beautiful domestic intimacy in their scenes together, with Hart in particular embodying Josh with a hugely endearing playfulness – one moment in which Josh mockingly hides from Alex under the pillows of a couch is utterly delightful. Tom O’Brien’s direction utilises instances such as these to excellent effect in fulling fleshing out these characters’ lives.

Libby Todd’s set design is immensely detailed – to the extent that it even features a functioning shower – with just three tables being boundlessly multi-purposed and garnished with a whole deluge of props. If anything, it’s too detailed though, as scene changes felt extraordinarily long with all the table-rearranging and set-dressing that had to take place. This was mired further by the fact that – due to the aforementioned nudity – these transitions also featured the actors having to get dressed and undressed. There was a noted effort to make these scene changes character driven, but they ultimately just felt fiddly and arduous, and subsequently killed the pace of the show.

Overall, Afterglow is a window into a lifestyle that is sorely under-represented and on that basis alone feels vital – it’s just a blessing that the play is also searingly characterful and ruminative too.

 

Reviewed by Tom Francis

Photography by Darren Bell

 


Afterglow

Southwark Playhouse until 20th July

 

Last ten shows reviewed at this venue:
Seussical The Musical | ★★★★ | November 2018
The Funeral Director | ★★★★★ | November 2018
The Night Before Christmas | ★★★ | November 2018
Aspects of Love | ★★★★ | January 2019
All In A Row | ★★ | February 2019
Billy Bishop Goes To War | ★★★ | March 2019
The Rubenstein Kiss | ★★★★★ | March 2019
Other People’s Money | ★★★ | April 2019
Oneness | ★★★ | May 2019
The Curious Case Of Benjamin Button | ★★★★★ | May 2019

 

Click here to see more of our latest reviews on thespyinthestalls.com

 

Wasted – 3 Stars

Wasted

Wasted

Southwark Playhouse

Reviewed – 12th September 2018

★★★

“The punk ethic is there but not authentic enough to make us root for these supposed desperados”

 

There are many famous people who continue to live with us through their work, none of whom could have known how famous they would become posthumously. Artists such as Vincent Van Gogh and Johannes Vermeer, writers Franz Kafka, Edgar Allen Poe and John Keats, the Italian astronomer Galileo (who had to wait three centuries before his theories were accepted) and even J.S. Bach was little known in his own lifetime.

The creators of “Wasted”, the new musical at Southwark Playhouse, are adding the Brontë sisters to the canon, the title of which suggests that the three sisters and their often overlooked brother never achieved the recognition they sought nor found their true vocation. Hence, they believed their lives were ‘wasted’. We will never know if this was a real concern to the siblings two centuries ago, but the writers here drum home the imagined anxieties with a mixture of teenage angst and prophetic irony.

Part gig and part rock documentary, Christopher Ash’s music and Carl Miller’s book chart the struggles, frustrations and heartbreaks of Charlotte, Emily, Anne and their brother Branwell. A four-piece band form the backdrop while Libby Todd’s effective use of flight cases and sheet music create the set, reinforcing the rock theme. With hand held mics, the strong cast of four are the lead singers, imbued with a New Wave tension as they sing about being “stuck in this dump” and “we want to write”. The punk ethic is there but not authentic enough to make us root for these supposed desperados.

Although the narrative is often a touch too quaint to comfortably sit with the style of the songs, the cast do pull off the numbers with an anarchic self-possession. And you can detect a rock band’s politics permeating the foursome. Natasha Barnes’ Charlotte is pretty much the lead here; the strong contender in control, who goes onto a successful solo career. She does, after all, outlive her sisters. Siobhan Athwal gives Emily the tortured soul treatment; emotional and wayward while Molly Lynch, as Anne, is the quiet one who nevertheless is the one who comes across as the most interesting. Not to be outdone by this feminine trio, Matthew Jacobs Morgan holds his own and, even if historically Branwell fell by the wayside, Morgan certainly keeps up with the girls here.

All four sing exquisitely and they do wonders to shake off the dusty image of the Brontë family. The rock score reminds us how radical and visionary they were, yet the punch is weakened by stretching the point to its limit. And many of the songs are far too long, which does lessen the poignancy and the power of the material. Likewise, Adam Lenson’s dynamic direction is diluted in a show that does overrun its natural course. Some ruthless editing is needed for it to truly echo the characters who lived fast and died young.

 

Reviewed by Jonathan Evans

Photography by Helen Maybanks

 


Wasted

Southwark Playhouse until 6th October

 

 

Click here to see more of our latest reviews on thespyinthestalls.com