After Party, a play by Morna Young, presents a complex exploration of family dynamics and the controversial topic of assisted dying. The story revolves around Vivienne, a flamboyant matriarch celebrating her 80th birthday, who plans to die the next day due to terminal cancer. This premise raises intriguing questions about the future of end-of-life choices and the ethical implications of assisted dying.
The play's setting is a vividly lit, opulent home, with a tacky photographic backdrop that adds a touch of realism to the otherwise extravagant space. The first act, which feels like a farce, introduces the characters and their relationships. Vivienne's children, Lily and Geoff, are caricatures, with Lily being a religious extremist and Geoff a self-serving heir. The grandchildren, James and Sasha, provide some charm, with James adoring Vivienne and bringing his singer girlfriend, Cassandra, to the party. However, the humor in the first act falls flat, lacking the sharpness found in similar grief comedies.
The assisted dying element of the story is a significant but confusing aspect. The play sidesteps the political debate surrounding the issue, making it challenging to suspend disbelief. The lack of clarity on how Vivienne arranged her death adds to the confusion. The second act, however, takes a more emotional turn, focusing on the relationship between Vivienne and her long-term partner, Carol. The chemistry between the characters is moving, and the play begins to explore the humanity of assisted dying.
The play's strength lies in its exploration of family tensions and the emotional journey of Vivienne and Carol. The script's richness and wisdom provide a compelling narrative, but the ending feels rushed. The play's length and the resolution of the assisted dying debate could have been more satisfyingly handled.
After Party is a thought-provoking piece that delves into complex themes, but it leaves room for improvement in terms of pacing and the resolution of its central conflict. The play's exploration of family dynamics and assisted dying is intriguing, but it may not fully satisfy audiences seeking a more conclusive resolution.
The play is currently showing at the Traverse Theatre in Edinburgh and will later be performed at the Belgrade theatre in Coventry. It is a must-see for those interested in thought-provoking theatre that challenges societal norms and explores the complexities of human relationships and end-of-life choices.
