Afterglow

By Nick Pilgrim

• Leon Zat (played by Anthony LaPaglia): [the morning after Leon admitted having an affair] I f****d up, all right? People f**k up.
• Sonja Zat (played by Kerry Armstrong): Really? Well, I don’t. You know what’s so easy, Leon? It’s so easy to go out and find somebody. You know what’s hard? What’s hard is not to.

Lantana (2001)

How time flies.

It seems only yesterday civil rights in Australia took a major step forward with marriage equality given the legal recognition it always warranted. After decades of intense lobbying, same-sex couples could finally experience the identical rights and social acceptance as their straight male and female counterparts.

Much has evolved in almost ten years since that momentous decision. Especially, how the LGBTQI+ community evaluates itself and wants to be viewed.

Last year ABC TV screened a fascinating documentary called Beyond Monogamy: Polyamorous Relationships. In that report, one male couple explained how meeting a third man radically changed the trajectory of their union.

The story is worth checking out for several key reasons.

Firstly, I learned a new slang term. ‘Throuple’ is the sexual or romantic love triangle between three people.

Secondly while the show’s producers eschew any angle of moral judgement, the camera still found a way of digging deeper. Whether this trio seemed happy together, you’ll need to watch for yourselves. I guess what ultimately constitutes a relationship, is up to each party to consider.

Whatever works.

In doing background research for Afterglow, I was surprised to learn that its provocative subject matter has commercial representation dating back more than ninety years.

Ménages à trois feature prominently in dozens of films and plays including Design For Living (1933), Jules and Jim (1962), Entertaining Mr Sloane (1964), Sunday, Bloody, Sunday (1971), Threesome (1994), Boston Marriage (1999), The Dreamers (2003), A Home At The End Of The World (2004) and The Kids Are All Right (2010).

Riding high on the widespread phenomena of Heartstopper or Heated Rivalry, it was only a matter of time before ‘throupling’ was given significant queer treatment.

Penned by S. Asher Gelman, Afterglow arrives in Melbourne with impressive credentials. Following successful seasons which include Off-Broadway at the Davenport Theatre and the Southwark Playhouse on London’s West End fringe, this version marks its Australian premiere.

Chapel off Chapel is no stranger to presenting bold and alternative content.

Situated in Melbourne’s pink heartland, the long-standing venue has showcased numerous pieces including Confessions of a Mormon Boy, Holding the Man, Next Fall, The Boys In the Band, The Last Sunday In June and Torch Song Trilogy.

Just to name a few.

To be fair, Afterglow’s combination of handsome young men and moments of full-frontal nudity will be a major selling-point for some audience members.

Admittedly, this reviewer squirms at the thought of seeing naked people on stage. So, getting over that emotional hurdle would always be part of the challenge. (I am still recovering from watching an old acquaintance star in a national touring production of Hair more than thirty years ago!)

These sticky elements aside, Afterglow presents itself as so much more than mere visual titillation.

Its focussed plot documents the relationship of Alex (played by Julian Curtis) and Josh (Matthew Mitcham). We quickly learn that the long-term couple plan to welcome a baby by surrogacy. This new phase of their married lives potentially opens doors but closes others.

To date, the pair have had occasional but consensual one-night stands with other men. The likelihood of this pattern continuing will be limited by taking care of their child full-time.

Alex is happily looking forward to the responsibility of fatherhood. Meanwhile, Josh is secretly fearful of losing his youthful spontaneity. Their rock-solid foundation is immediately unbalanced when they meet Darius (Matthew Predny). This supposedly casual arrangement opens a can of worms neither Alex or Josh expects or anticipate. (It should be noted how standby, Will Lonsdale, covers all three roles.)

Afterglow takes full flight almost from the get-go, exploring how power shifts potentially make or break a relationship when promises are betrayed and strict rules are broken.

Clearly outlining each character and their ultimate desires, Gelman’s observational dialogue doesn’t hold back. As invested viewers, that emotional tug of war can’t help but put us in touch with our own wants, needs and boundaries as well.

His words are neatly matched by the show’s trio of accomplished actors. Defined by the author’s specificity, each performer runs with that detailed guideline and as such, stands out for it. Furthermore, this is truly a trust exercise of the highest order.

Legitimising the triumvirate’s challenging situation, Curtis, Mitcham and Predny share the on-stage ease and natural chemistry an experience like Afterglow demands. Together, they make these characters entirely believable. Which in truth, deepens how the audience will quietly connect with and contribute to the gripping narrative.

Special mention should be made to Mitcham for his stellar work here.

Twelve years ago, I saw the gold medallist Olympian star in Twists and Turns (for the Melbourne International Cabaret Festival) at the very same venue. That autobiographical outing provided fascinating insight into the performer’s future potential and evolution as a serious dramatic actor. In Afterglow, Mitcham owns his space and truly shines.

Like Daniel’s Husband which I saw in London last month that handles similar arguments for and against gay marriage, I felt like I was spying on real, flawed people stumbling blind through their collapsing private universe.

Furthermore, the show’s ninety-minute running time feels brisk yet leaves you wanting more.

Afterglow is brought to brilliant life by a veteran creative team. It makes sense that Gelman himself not only directs this production, but is also its choreographer.

Supported by Ann Beyersdorfer (set design), Lauren Peters (costume design), Jamie Roderick (lighting design), Alex Mackyol (sound design), and Chloe Dallimore (intimacy director and associate movement director), Afterglow will likely be the must-see frontrunner from this year’s Midsumma Festival. I was particularly impressed how the multi-functional set, colourful mood lighting and throbbing sound design adjust in line with the story’s evolving tonal shift.

With human hearts squarely on the line, Afterglow makes for a very uncomfortable yet ultimately satisfying experience. I defy anyone not to be affected by its dramatic clout. Beyond its simple yet beautifully stylised set and glossy cinematic sheen, at the end of the day everyone has one life to live. How we make conscious choices on that long and winding path, is entirely up to us.

The strictly limited season at Chapel off Chapel wraps up on Saturday February 21, when Afterglow heads to Sydney’s Eternity Playhouse just in time for Mardi Gras.