“Filled with righteous anger as well as tongue-in-cheek anarchy, this likably chaotic show is a salient reminder that the culture wars didn’t start in the 2020s.”
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“Tonally, the production is more light-hearted than it sounds. There's a lot of wit in the script, and the cast find moments of physical comedy too, meaning this never feels like a history without hope. The ending is in many ways a call to action, even if it becomes a little too obviously signposted.”
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“A very brisk show is performed by a likeable, energetic cast of four in colour-coded suits and white trainers on a bare wood set...Admittedly, the overall vibe is a bit student-y, the acting strident and the choreography full of basic shoulder-dips and clenched-fist salutes.”
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“What ‘After the Act’ shows so magnificently is that, for so many children, Section 28 didn’t protect them. It destroyed them.”
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"Welcome to the worst show of the year so far. This verbatim musical about homophobia in the Eighties and Nineties is so inept that part of me suspects it must be part of some Reform UK psy-ops campaign to put political theatre out of business."
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“The show also links its underlying attitudes with today’s rampant transphobia. However, it would be good to see more of a spotlight on why the law was repealed.”
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“This fizzing, fiery musical tells the story of that legislation and how its effect brought shame, secrecy, loneliness, trauma and abuse on those growing up gay under it.”
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“Willis is particularly vocally protean, while Posadas brings spellbinding precision to Sung Im Her’s choreography, which largely eschews dancing in favour of movements that supercharge the script.”
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