⭐⭐⭐ (Three Stars)

After the Act at the Royal Court Theatre is a verbatim musical chronicling the devastating impact of Section 28 on students, teachers, and activists. Section 28, introduced in 1988 under Margaret Thatcher’s leadership, prohibited the “promotion of homosexuality” by local authorities and in schools, silencing LGBTQ+ voices and entrenching a culture of fear and shame that persisted long after its repeal in 2003. After the Act brings these stories to life with a clear-eyed sense of purpose. Through the real words of those who lived through this era, the piece gives voice to an entire generation forced into silence. It is, undoubtedly, a necessary work.

The decision to present the piece as a verbatim musical is bold and thought-provoking. In its spoken sections, the verbatim technique works powerfully. There's a raw authenticity that underscores each recollection, reminding the audience that these are not characters, but real people. Here, the format shines, giving weight to the historical testimony and anchoring the show in truth.

However, this same approach falters when applied to the musical numbers. While the instrumental score, atmospheric and evocative, is undoubtedly an asset to the production, the transformation of speech into song proves problematic. The lyrics, drawn directly from interview transcripts, struggle against the melodies. Delivered in a half-spoken, half-sung style, these musical moments often feel more stilted than stirring. Rather than elevating emotion, they sometimes dilute it, rendering certain songs less impactful than their spoken counterparts.

Yet even where the form falters, the performances do not. The cast of four, made up of Ericka Posadas, Nkara Stephenson, Zachary Willis, and Ellice Stevens, move expertly between roles, portraying a wide array of voices with sincerity and care. Each performer brings specificity and warmth, allowing the audience to connect with these lived experiences on a deeply human level.

Bethany Wells’ set design evokes a school gym, with wooden benches and gymnastic equipment used creatively throughout the production. It's a subtle but effective backdrop, enhanced by Zakk Hein’s video design, which projects era-defining footage and headlines onto the set’s rear wall.

Most compelling is the production’s framing of Section 28 not as an isolated historical event but as a warning. By drawing a direct line to the current treatment of the trans community, After the Act refuses to let the past remain past. It challenges audiences to see the continuation of systemic prejudice and the urgent need for solidarity and action.

While the musical form may not always serve its material as successfully as hoped, the show’s emotional core, political relevance, and sincere performances render it a moving piece of theatre.

After the Act runs at Royal Court Theatre until 14th June 2025.

Tickets are available here: https://royalcourttheatre.com/whats-on/after-the-act/#book