After Sunday at Bush Theatre Review

Enjoying a run at the Bush Theatre in West London, AFTER SUNDAY introduces us to three patients currently housed at a secure hospital in the Midlands. Leroy (David Webber), Ty (Corey Weekes) and Daniel (Darrel Bailey) are encouraged by occupational therapist Naomi (Aimée Powell) to engage in the cookery classes which may bring back cultural memories and foster engagement and interaction. The danger of course, is that not all inmate interactions will be borne of camaraderie and each of the men bring into the kitchen, a history of previous grudges and mistrust. Early on, we learn of the demise of Vincent on whom much of the facility’s good natured bonhomie clearly depended. His departure at the outset of the play, punctures everyone and leaves a vacuum of disconnectedness in which those who remain, flounder.

Griffin deliberately neglects to go into specifics for each man’s incarceration, but gradually facts are teased and revealed and occasionally there is a veritable data-dump of information challenging our perception of the character who has been presented to us. Things come to a head as the group prepare to cook for a friends and family open day, which is forever teetering on the brink of cancellation, dependent upon some rule or other, the whim of a higher-up or damned by the momentary misdeed of one in the room. Despite their general combativeness, it is Daniel’s disingenuous manipulation which rankles most and when all of Naomi’s considerable kindness, clarity and effort is ripped apart, we experience her frustration and bitter sadness which serves as a damning reflection of all that is broken in our correctional and healthcare systems despite the valiant efforts of those on the front line who work so hard to preserve them.

Director Corey Campbell’s troupe plays on a simple kitchen set by Claire Winfield, which boasts four metallic work benches which are spun and moved during moments of tension and includes a secure door requiring access card or authorised exit by an unseen guard. When the emergency lights and sounders go off, you’re left in no doubt of the type of correctional facility, but it still comes as something of a shock to the system.

Plays straight through with a 1 hour 40 min running time and continues at Bush Theatre until 20th December.