The Theatre at the Tabard hosts the London transfer of the latest Outstanding Theatre Award–winner at the Brighton Fringe Festival. Guillermo Nazara shares his views on this show exploring regret, sacrifice and the pursue of happiness, to let us know if its about elderly love preserves an old flame.
Wanna know a secret? Promise not to tell? Well, here it goes… No, sorry. I cannot let my confidences out – there’s too much sordid stuff hidden behind my pristine image. Don’t worry – I’m just kidding! There’s nothing pristine about it. Now let’s take things more seriously (*cough*). How would you feel if your closest friend revealed to you a haunting fact about their past? Something that could change the destiny of your relationship for good… Are you excited? Afraid? Indifferent? Well, you’ve already clicked on this link – so joke’s on you, hun! But if you want to stay for the party (because there literally is one), let me talk to you about a story of betrayal, unhappiness and self-reinvention that’s intended to make you laugh.
Enter After All These Years, a new play by Giles Coles making its London debut after its original run at the Brighton Fringe Festival. Revolving around two elderly couples working in showbusiness, their greatest spectacle is yet to unfold, when one of them confesses to her pal that she wants to break up with her husband, move out with another woman and, if time allows it, maybe find her estranged son too. An engaging premise full of possibilities, the script sadly fails to take much advantage of any of them – spending too much time in introducing the characters’ backgrounds and their motivations, but giving very little room for any of them to unravel and evolve.
There’s no proper story arc built throughout the plot, with the dialogue often halting the action instead of boosting it – leaving us with a two-act exposition that offers very little conflict and no conclusion whatsoever. Yes, we know what’s happened to her new romantic relationship and a few more details are uncovered. But that’s reduced to basically three lines of conversation – missing every opportunity to give depth to the roles and, more importantly, devise a journey we can join in. Instead, we are presented with scenes that constantly circle back onto the same subject, more focused on delivering small talk than providing elements that are relevant for the narrative – with several snippets also seeming to look better on the page, but sadly, not sounding quite as natural when spoken out loud.
There’s still some features to be praised in the montage, nonetheless – those coming from the cast’s much enticing performances. The whole troupe gives a much satisfying portrayal, projecting charm and alluring stamina onto their roles. Among them, the biggest mention goes to both Jeffrey Holland and Graham Pountney, exuding great chemistry onstage while also endowing their portrayals with flair and naturalness.
Parting from an appealing premise, After All These Years is still in need of more time to shape up its ideas. The show could actually be an excellent, witty comment on life choices and the rupture with societal expectations in pursue of our own happiness. But for that to occur, the author must let his personages breathe and take their chances. A better structure, content-filled plot is crucial for the piece to finally take off. Its title may evoke some reflection, but no memory is completed without a look ahead.
All pictures credit to Charles Flint.
After All These Years plays at London’s Theatre at the Tabard until 24 February. Tickets are available on the following link.