Written by Morna Young
Directed by Katie Posner
Review by Dominic Corr
There is an undeniably lavish ambition occupying the main stage of the Traverse. With a heavyweight creative roster behind it, Richard Kent’s opulently mounted set – complete with a grand piano and sweeping drapery – promises an epic, dynastic theatrical event. At first, this was looking to be the main shindig of the venue. Yet, despite securing one of the most coveted slots in the entire festival programme, After Party collapses under the weight of its own chaotic construction.
Co-created by some tremendous talent, who have crafted such well-constructed and beloved pieces, Morna Young’s (with Alex Fthenakis) premise sets up an 80th birthday gathering thrown by theatrical matriarch Vivienne (a viscerally acid-tongued Alison Peebles), who plans to end her own life the morning after a terminal diagnosis. On paper, taking the intensely charged, contemporary debate surrounding assisted dying and framing it as a sweeping family reunion carries immense potential. In execution, however, the production suffers from a total lack of coherence and seems to be a party not entirely ready for the guests to arrive.
The script throws every conceivable trope at the wall: a God-fearing daughter, a money-grabbing son, an influencer granddaughter, a troubled musician, and a web of complex domestic betrayals. Not entirely a terrible thing; similar productions at the Traverse this year have done similar; but have executed the tropes in a digestible manner. Yet instead of forging a sharp tragicomedy, the narrative drifts aimlessly through shapeless exchanges and tonal whiplash. Crucial political and legal realities regarding euthanasia are bizarrely glossed over, leaving the central conflict feeling curiously hollow and ungrounded.
What makes this fumble so frustrating is the obvious push for invention. The production constantly strives to shock and innovate – incorporating jarring punk musical interludes, sudden Shakespearean recitations, and heavy-handed visual symbolism. The cast do some of the redemptive listening; it’s always a treat to see Benny Young flex their thespian chops, while act two attempts to repair a lof the dmanage, with Liz Kettle‘s turn in a staggering, efficient and earnest performance as Viv’s partner, in a show which sorely lacks much of the same character.
Yet some of these moments feel more like desperate attempts to inject energy into an underdeveloped framework rather than organic artistic choices. Even a cast of incredible Scottish acting talent finds itself stranded, fighting against dialogue that wanders for far too long before reaching any genuine emotional gravity. When space at the Fringe is at such a premium, with respected names all over the place, and a bunch of talent misplaced in a show so structurally confused is a bitter pill. The grand scale and technical polish are certainly on display, but beneath the glossy surface, this party desperately needed editorial discipline before taking the stage; don’t worry about the RSVP for this one, folks.
Don’t Worry About An RSVP
After Party runs Traverse 1 at The Traverse Theatre until August 30th
Running time – Two hours and five minutes with one interval
Photo credit – Marc Brenner
Review by Dominic Corr (contact@corrblimey.uk)
Hunter is a 2024 Master’s graduate of the University of Edinburgh and current doctoral candidate with a thesis focused on experimental theatre in Edinburgh. He has been a theatre practitioner for over a decade having worked in many capacities including as a director, actor, stage manager, front of house manager, and technician as well as others. Prior to moving to Edinburgh, Hunter was a high school English teacher in the United States. His passion for the written word as well as his passion for live performance are what motivated him to become a writer for this publication.
