AFTERGLOW at Southwark Playhouse Borough

★★★★

“Stylistic scene changes and some beautifully choreographed moments lend a filmic quality”

Rarely does the phrase ‘the tea has gone cold’ carry such metaphorical and emotional clout. Spoken silently, almost subliminally, it is a pivotal moment. One of many that distance S. Asher Gelman’s “Afterglow” from the expectations created by the packaging and promo shots. There is a lot of baring of bodies, but the baring of souls waits until the clothes are back on.

Alex (Victor Hugo) and Josh (Peter McPherson) are a thirty-something married couple, about to have a baby via a surrogate mother. Comfortably off, they can afford the hedonism that fills the hours away from their respective jobs. Their epicurean sensibilities allow them to conduct an open relationship, albeit with rules and boundaries. When a younger Darius (James Nicholson) crosses the threshold, those boundaries are broken. The inner consequences are what this play is all about rather than the highly toned, lust-inducing flesh that triggers the landslide.

Gelman, who also directs and choreographs the piece, sets the mood from the outset. Three figures writhe; mere silhouettes behind a curtain of white gauze like some kind of human lava lamp. Evocative and mysterious until the curtain drops, and the mystique vanishes, giving way to post coital banter that introduces the three characters. They use the words well to establish themselves, creating an easy rapport and a sizzling chemistry that burns the sweat off their torsos. But once the hierarchy is laid down, it does drift for a while into familiar armchair philosophy and tried-and-tested discussions of love, loyalty, trust and commitment.

But once the exposition is out of the way, the performances cut into the raw emotion of their characters. The three actors are equally impressive in their portrayal of the complexities of this love triangle. The tugs of war between conflicting needs are evoked through tone and mannerism as well as language. Stylistic scene changes and some beautifully choreographed moments lend a filmic quality – a gloss that is chipped away the more the harmony of the relationships crumble. Loyalties are tested to the extreme, and secrets uncovered as we go along. The freedom these characters seemingly possess is perversely more of a shackle than monogamous commitment.

Ann Beyersdorfer’s cleverly changeable set, and Jamie Roderick’s dynamic lighting together create a slick, gay world. Although this is not necessarily gay theatre because the writing would work equally well with any combination of gender or disposition. The explicitness is somehow less shocking, however, in the setting of a young, male, gay threesome than it perhaps would have been in other configurations. One wonders: would this show court more controversy if the protagonists were mixed genders, or women? It is a moot point though. What matters is the honesty of the story being told, and Hugo, McPherson and Nicholson have the strength and talent to bring it to life. Beneath the promiscuity is a dignity and vulnerability. A deep-seated need just to ‘belong’.

An afterglow is what remains when the light has disappeared. The word is often misappropriated to be used as something that is desirable. To be basked in. “Afterglow” questions this concept with a finely tuned look at human relationships and the consequences of our actions. What remains when trust has disappeared? When the damage is done, and everything has changed? There are many lines crossed before the question is raised, and even then, the play can’t answer it. But it is definitely worth going to see it try.

AFTERGLOW at Southwark Playhouse Borough

Reviewed on 22nd January 2024

by Jonathan Evans

Photography by The Other Richard

Previously reviewed at Southwark Playhouse venues

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GARRY STARR PERFORMS EVERYTHING | ★★★½ | December 2023

LIZZIE | ★★★ | November 2023

MANIC STREET CREATURE | ★★★★ | October 2023

THE CHANGELING | ★★★½ | October 2023

RIDE | ★★★ | July 2023

HOW TO SUCCEED IN BUSINESS … | ★★★★★ | May 2023

STRIKE! | ★★★★★ | April 2023

THE TRAGEDY OF MACBETH | ★★★★ | March 2023

SMOKE | ★★ | February 2023

THE WALWORTH FARCE | ★★★ | February 2023

HAMLET | ★★★ | January 2023

AFTERGLOW

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★★★★

“carries the audience along on a tide of smiles, while keeping enough of the darkness of the original story to balance the madcap hilarity”

This production fizzes with life as the cast of six talented actor musicians lead the audience through the streets of Paris, transforming the garden and interior of St Paul’s Church into Notre Dame Cathedral, dangerous slums, the site of gallows, pillories and court rooms, as they weave the tale of Quasimodo and Esmeralda. Be prepared to move from place to place, becoming the Parisian crowd and taking sides as the story unfolds. Don’t worry though, there are plentiful seats at each destination. There is a lot of audience participation, and engagement with the actors, all done with such jovial good humour that even the most timid audience member wouldn’t shy away.

It can’t be easy to write a show based on a book that has already had so many incarnations on film and stage, but Benjamin Polya has written a version of this well known story that is vibrant and alive. He has given the actors well rounded characters to play with, and they rise to the occasion with gusto. When we first meet the cast they introduce themselves as a troupe of players who will be putting on a show. They make their appearance in the bar area of the garden, and shepherd the audience into the first scene, already primed to enjoy the evening, grinning from the intro.

It’s a real ensemble piece, and each actor plays multiple roles. Katie Tranter has a genius for comedy, and an ability to really get the audience on her side. Her rather inept and earnest Pierre is one of the standout performances of the evening; hilarious, sweet and endearing. Ed Bruggemeyer is a powerful Frollo, bringing menace and darkness into the mix with his obsession for Izzy Jones’ charming and mercurial Esmeralda. Darrie Gardner is by turns a rousing ringmaster and a mother still grieving the loss of her baby, twenty years ago, bringing her anguish to balance the fun. Max Alexander-Taylor goes from king to lover to magistrate at the drop of a hat, and Robert Rhodes is an excellent Quasimodo, vulnerable, brave and, at times, heartbreaking. But it is the way that all the actors work and play together that make this such a good show.

Michael Malone’s songs and music mesh with the set and costume design, by Isabella Van Braeckel and Cieranne Kennedy-Bell to create an enticing and fascinating world. The fight scenes, choreographed by fight director Esme Cooper, are exciting, and director Bertie Watkins pulls everything together beautifully, creating a play that carries the audience along on a tide of smiles, while keeping enough of the darkness of the original story to balance the madcap hilarity.

This version of Hunchback is a real treat, full of laughter and drama. A magical summer evening in a garden, a high energy show full of humour and compassion. And there’s even a magical goat.

Reviewed by Katre

Photography courtesy Iris Theatre

AFTERGLOW at Southwark Playhouse Borough

★★★★

“Stylistic scene changes and some beautifully choreographed moments lend a filmic quality”

AFTERGLOW at Southwark Playhouse Borough

Reviewed on 22nd January 2024

by Jonathan Evans

Photography by The Other Richard

Previously reviewed at Southwark Playhouse venues

AFTERGLOW

AFTERGLOW

St Paul’s Church Covent Garden

Reviewed – 7th August 2019

★★★★

“carries the audience along on a tide of smiles, while keeping enough of the darkness of the original story to balance the madcap hilarity”

This version of Hunchback is a real treat, full of laughter and drama. A magical summer evening in a garden, a high energy show full of humour and compassion. And there’s even a magical goat.

Reviewed by Katre

Photography courtesy Iris Theatre

The Hunchback of Notre Dame

St Paul’s Church Covent Garden until 1st September

Previously reviewed at this venue: