After Liverpool

After Liverpool is to theatre what chick-flicks are to cinema. In a light-hearted way it might be enjoyable but it ultimately provides little if any insight into the subject matter at hand. Furthermore the majority of decently cultured people only watch them begrudgingly.

In this case the topic is relationships or, to be more specific, the dysfunctional modern day relationships of which, if either party were your bosom buddy, you would be morally obliged to advise them to dump their partner. With such a fruitful subject to explore, this production is surprisingly unsatisfying on virtually every count. Both the script and the acting are unimaginative, full of repetition and drama school tricks.

The direction is stiff from beginning to end with characters freezing to signify change of scene and only making use of the space because they are supposed to. The symbolism, an apple representing temptation and sin and all that jazz which is placed at the centre of various arguments, seems forced or at least unconvincing because it jars with the types of characters portrayed.

Overall this is a disappointing production which could benefit from a less ambitious purpose and some more objective criticism earlier on in the rehearsal stages. It ultimately fails because there is no attempt to gain the audience’s sympathy for any of the various characters.  If the individuals in After Liverpool were real I wouldn’t want to be friends with them.