Review: AFTER THE ACT, Royal Court
Photo credit: Alex Brenner
Let us take a trip back to the 1980s, Besties. Sadly, this is not one full of nostalgia but a vital piece of education which explores the story of Section 28 and those who lived before and after the Act.
Told through a mixture of spoken word and songs, After the Act is a powerful piece of verbatim and documentary theatre about the landmark legislation, Section 28, which was passed in 1988 and banned the ‘promotion’ of homosexuality by local authorities and in schools. The show’s press night takes place exactly 37 years after the events retold in the opening scene. On 23 May 1988, a group of lesbian activists invaded a BBC News studio to protest the act the night before it came into effect. From here, the show rewinds and charts how the act came to be, and the second half explores the detrimental impact that Section 28 had on the LGBTQ+ community after it was passed.
Written by Billy Barrett and Ellice Stevens, who also direct and star respectively, the show commemorates inspiring acts of opposition and shares heartbreaking stories that they have collected through interviews with students, teachers, activists, and historians affected by Section 28. Music by Frew is influenced by the sounds of the era and brings an effervescence to the show as it explores hard-hitting and serious issues. The songs are not especially memorable, and the verbatim lyrics lead to some clunky rhythms, but they serve as an essential storytelling technique. However, it would be remiss of us not to highlight the show-stopping opening of Act Two, ‘Cheated,’ a drag-inspired power ballad performed sensationally by Ellice Stevens as Margaret Thatcher. The music merges wonderfully into spoken word and makes the educational elements engaging and accessible. After the Act has a wonderful balance of camp and comedy to balance the weighty topics that the show addresses.
Set in a school environment against a backdrop of a climbing frame, the scenes and characters are signposted by projections which also show footage of the real events. Wooden benches and agility tables transform into a plethora of locations as the exceptional cast exhibit their mastery of accents and physicality to portray a wealth of characters. Ericka Posadas is brilliantly bold as she abseils onto the stage, just as a group of lesbians abseiled in the House of Lords. Zachary Willis is heartbreaking as he recounts Ian’s story and how his struggles to navigate his sexuality led to self-harm. Nkara Stephenson is incredibly moving as LB who grapples with a failure to be accepted by their church. The four-strong cast fill the stage with sound and passion to ensure we hear their message.
Section 28 was predicated by a culture of fear and created a legacy of silence. After the Act combats this sentiment and is truly joyous and unapologetically loud and proud. In times like these, when the rights of transpeople are being threatened, shows like this demonstrate that we must not back down and prove that our differences such as queerness must be celebrated. After the Act is a shining example of what theatre is for.
**** Four stars
Reviewed by: Sophie Luck
After the Act plays at London’s Royal Court until 14 June, with further info here.
