Chaotic, complex and compassionate.
Griffin Theatre Company presents Afterglow, a musical rom-com from Purple Tape Productions, written by Sheanna Parker Russon and Lillian M. Hearne in association with Belvoir St Theatre. Co-directors Cassie Hamilton and Lily Hayman orchestrate a chaotic, complex, and compassionate flurry of emotions within this four-part a capella harmony filled with humour and solemnity.
Afterglow takes place following the biennial 2012 Barbershop Singing National Championship, when men gather for whisky-infused harmonies, loosened behaviour, joy, and incoordination until the early hours. Michael (Cassie Hamilton), a self-righteous barbershop purist on the surface but stitched with doubt and earnest confusion on the inside, tries to find his place within that “barberhood”. While doing so he meets his counter-melody Tom (Nic Prior). Tom is quiet, radical and carries the confidence of someone who has already decided what does and doesn’t matter. Their worlds collide, and across eight years, their fiery arguments settle into something gentler; something of understanding and respect. As they move through adulthood and break the social and musical rules of the barbershop they reshape one another, caught in the chaotic but glowing aftermath of music.
Hamilton and Prior’s chemistry is electric and palpable, channeling arrogance and fear, with a clarity that gives the production its emotional spine. Despite this, it was difficult to understand how the two characters ultimately come together. Their connection felt obscured by the long stretches of arguing, avoidance, and emotional distance, leaving their eventual love underdeveloped and somewhat absent from the narrative.
Nonetheless, the cast (which include Nat Jobe and Lincoln Elliott) move with coordination and rich harmony whilst showing their distinct personalities and flair. A special commendation goes to Jobe as Rupert. Jobe brings genuine depth to the show by embodying the notions of learning, growing, changing, and wholehearted support as a friend with an unmistakable older-brother warmth.
Hamilton and Hayman convey the intricacy of the characters and their relationship with sophistication, offering a thoughtful portrayal of marginalised communities and self-understanding. In highlighting identity, belonging, vulnerability and reconciliation, the story is elevated beyond its musical frame.
The set (Geita Goarin), though small, felt elaborate and inviting, draws the audience into the barberhood. The lighting (Tyler Fitzpatrick) was intentional and full of character, being quick, expressive, and well-attuned to the story’s rhythm. Most notably, during Hamilton’s absence from the stage during the final time lapse, the dim glow shifted focus to the other characters attempting to reach out and check in, to no avail. Following this scene, the bursts of brightness accompanying the now-Michelle’s return landed beautifully, radiating warmth like sunlight and lifting the entire atmosphere of the theatre.
Ultimately, Afterglow succeeds in delivering a compelling and emotionally resonant production. Despite the narrative gaps, the performance maintains its momentum through the well-executed time jumps, allowing the story flow from one chapter of the characters’ lives to the next.
