After Party, a play by Morna Young, presents a complex and thought-provoking exploration of family dynamics, assisted dying, and the complexities of life and death. The play centers around Vivienne, a flamboyant matriarch, as she celebrates her 80th birthday and plans her death the very next day. This unique premise raises intriguing questions about the nature of life, the role of family, and the ethical considerations surrounding assisted dying.
One of the strengths of After Party lies in its ability to weave a compelling narrative while tackling sensitive topics. The play skillfully navigates the tension between humor and drama, creating a rich tapestry of emotions and relationships. The character of Vivienne, portrayed by Alison Peebles, is a standout. Her flamboyant personality and unapologetic nature make her a captivating figure, drawing the audience into her world. The supporting cast, including Hilary Maclean, Gilly Gilchrist, Angus Yellowlees, Ruby Glyne, and Rachel Dick, also deliver strong performances, adding depth and complexity to the family dynamics.
The set design by Richard Kent is a notable aspect of the production. The vividly lit, opulent rooms create a visually stunning backdrop, enhancing the overall atmosphere. However, the tacky photographic backdrop of windows and mountains, as the reviewer points out, feels out of place and somewhat distracting. The use of such a backdrop could have been avoided, allowing the set design to remain more cohesive and immersive.
The first act of the play, which is described as a farce, introduces the family tensions and fights in a comedic vein. While there are moments of verve and wit in the script, the overall tone feels flat. The characters, though broadly drawn, lack the sharpness and depth that make a farce truly memorable. The comparison to the grief comedy Relics is made, but the humor in After Party falls short of the mark.
The assisted dying element of the story is a significant aspect that warrants further exploration. The reviewer questions the decision to sidestep this political hot-potato, as it becomes challenging to suspend disbelief without a clear understanding of the debate surrounding assisted dying. The play's treatment of this topic could have been more nuanced, providing a deeper insight into the ethical and emotional complexities involved.
As the play progresses into the second act, the tone shifts, and the narrative becomes more emotionally resonant. The relationship between Vivienne and her long-term partner, Carol, takes center stage, offering a moving portrayal of love and support. The chemistry between the characters is palpable, and the exploration of their bond adds depth to the play's themes. The eventuality of Vivienne's death is portrayed as a peaceful and dignified process, suggesting that the play aims to humanize the concept of assisted dying.
However, the reviewer notes that the play takes too long to reach its emotional climax. The richness and wisdom in the script are evident, but the pacing could have been more effective in building tension and engaging the audience. The play's length may be a consideration for viewers, as it could potentially impact their overall experience.
After Party, currently running at the Traverse Theatre in Edinburgh and set to transfer to the Belgrade Theatre in Coventry, is a thought-provoking piece that delves into the complexities of family, mortality, and ethical dilemmas. While it excels in certain aspects, such as character development and emotional depth, there are areas where the play could have been more nuanced, particularly in its treatment of assisted dying. The play invites audiences to reflect on the nature of life, the role of family, and the difficult choices we make in the face of mortality.
