S. Asher Gelman’s popular piece about modern relationships returns to the London scene for its third time, in a new production currently playing at the same place that hosted its European premiere. Guillermo Nazara shares his views on the show, to let us know if its intimate storyline is worth coming for.
There are many ways to define love. And yet, none of them seem to be correct. At least, not by today’s standards. What is love? Does it mean to care for someone unconditionally? Giving up everything in our lives for the other one if that’s what it takes to be with them? Sounds a bit dated. Modern psychology tells us we should put ourselves before anything else. But can we can really speak of commitment when our world does not turn around that other one anymore?
There are many things that we, as members of the gay community, can take pride in. But certainly, breaking every conventional norms when it comes to dating (or relationships, in general) tops them all – no pun intended. Yet, how far can we push those limits when things start to get more complicated? A night of NSA fun (learn vocabulary) when a couple invites another guy over to their flat. Things go well. Perhaps, too well – to the point that Josh, a married director expecting a child, wants to meet with their guest again. This time, his husband, Alex, doesn’t have to join. It’s not a secret. They’re open and their only rule is no sleepovers. But feelings do not care about rules, do they?
Directed and written by S. Asher Gelman, Afterglow has become a brand on its own in LGBT-related theatre. Originally staged in New York, its recurring stay in London has led to three different productions in this city alone, apart from a few international productions in other languages. Its appeal is unquestionable. And to be honest, the fact that three handsome young men uncover the bare truth about themselves is something we’re all willying to sink our teeth into. Was there a typo back there? I don’t think so…
However, there’s more meat on the bone (please, notice there’s no ending consonants…) than its tail-ored aesthetics – alright, I’ll stop. Parting from an engaging premise, Afterglow manages to point out several resonant themes that bring out sincerity and insight to both the play and our day-to-day reality. The fear of solitude in constant clash with the fear of missing out. What’s worth the sacrifice and what’s just a passing fancy we should outgrow? Do traditions also apply to nontraditional ways of living? And how much should our let our heart desire when our mind is telling us the opposite?
Properly outlined regarding its topics and structure, the script nonetheless fails to deliver its full potential, with both the plot and characters’ development feeling too sketchy at too many moments – thus, preventing its narrative from unleashing its veridity. Josh, Darius and Alex are highly relatable roles. And so is the journey they go through – scene by scene. But that’s probably its main problem. Though drawn from experience, it looks too predictable – taking us on a ride that, either through fiction or personal background, we’ve been on for long enough. And just as every time we start falling for the wrong kind of guy (my mates know who to punch and where…), we already know how it ends.
At the same time, the pacing is slightly affected all through the account’s progress, with the tale moving too fast to make some of the personages’ reactions believable. In addition, though it’s packed with charming situations and a few amusing excerpts, the dialogue sounds a bit unpolished – once again, erasing part of the script’s credibility through the use of some cliches which, though not too numerous, still manage to affect its persuasiveness.
Yet, this productions counts on sufficient strong values to let it stand out on its own – those starting by its beautiful and visually grasping scenography, combining Ann Beyersdorfer’s abstract yet evocative set with Jamie Roderick’s brilliantly atmospheric and sometimes symbolic lighting design. At the same time, the cast does also achieve some compelling renditions, with the three exuding chemistry, flair and presence all through the performance. Among them, both Peter McPherson (Josh) and Victor Hugo (Alex) deserve a separate mention thanks to their fine and somehow magnetic portrayals, while James Nicholson also makes a memorable appearance as Darius through the naive rizz of his interpretation.
A tale of love, trust, loss and betrayal, Afterglow makes an accomplishment through its grounded motifs, but struggles to spread its wings by playing to an excessively well-known storyline with hardly any twists or surprises in it. Though depicting a reality through honest eyes, its message is still in need of a voice that allows it to separate itself from the rest – moving from what it’s basically just conflict to a more rounded plot. An open ending is always an interesting way of wrapping things up. But for that to happen, there’s need to be a transition to some sort of conclusion – with the evolution that brings along with it. All of the components are there, and the possibilities are in hand. But you know what they say. If you want to taste the reward, you need to squeeze harder.
All pictures credit to The Other Richard.
Afterglow plays at London’s Southwark Playhouse until 10 February. Tickets are available on the following link.