★★★★☆
The traditions of barbershop include well fitted pinstripe vests, little bow ties, camaraderie, four strong male voices that unite in harmony to create something beautiful. Hey, that sounds kinda camp…
Purple Tape Productions in association with Belvoir St Theatre presents the unique production Afterglow as part of Griffin Theatre Company’s Lookout offerings, a program for Sydney’s most exciting next-generation theatre makers. Utilising the traditions of barbershop, Afterglow tells a layered story about transness, romance, misogyny, and the world of barbershop.
At its heart, it’s a story that places gender expression and self-discovery centre stage, examining what happens when those ideas collide with a community built on rigid traditions and expectations.
Co-Directors Cassie Hamilton and Lily Hayman, working alongside dramaturg Jean Tong, have created a fast paced, emotionally raw, nuanced, and extremely entertaining production. With great intention, they have crafted an emotional journey that results in a deeply impactful performance.
The opening scene, featuring a tight knit, impeccably groomed barbershop quartet, immediately draws the audience in with their rich harmonies. Fresh from competing at the 2011 Barbershop Convention, we see the team head to the afterglow, the informal post-performance gathering where singers drink, celebrate, and, of course, keep singing.
It is here we meet Tom (Nic Prior), an ever-evolving character who gradually challenges everything the quartet stands for, particularly for Michael (Cassie Hamilton). The chemistry between Tom and Michael is undeniable, but the two cannot be together; not as they are.
Returning to the afterglow year after year, the story reveals how some characters embrace change while others remain firmly rooted in the traditions and social expectations.
The ending arrives as a genuine surprise, recontextualising everything that came before. It is a deeply satisfying conclusion that ties the story together beautifully. Many audience members (myself included) were left teary-eyed before erupting into a well-deserved standing ovation.
Cassie Hamilton’s performance as Micheal/Michelle is completely unmatched, having a theatrical presence which carries the show and captures the camp aesthetic. Her vocal and acting abilities are incredibly impressive. She leads with such commitment and confidence, it is a joy to watch.
As Tom/T, Nic Prior provides a level of depth and reality, contrasting to Hamilton, which grounds the performance and re-centres the importance of the themes being presented. Prior’s approach to the character is believable and simply endearing.
Lincoln Elliott and Nat Jobe complete the quartet with their incredible senses of humour and beautiful harmonies. Together, they establish strong characters who are shaped by misogyny.
One of the production’s most beautiful elements is its use of music. Under the musical direction of Dr Lillian M. Hearne, the quartet perform rich, live a cappella harmonies that underscore the story’s emotional beats. This ambitious approach to an almost entirely a cappella musical pays off and works particularly well in the Downstairs Theatre’s intimate setting.
Geita Goarin’s production design effectively establishes the world of barbershop. From the crisp costumes and styling to the simple, functional set, it serves the story well. Similarly, Tyler Fitzpatrick’s lighting design is understated but effective. It seamlessly supports the fast-paced action and keeps the audience immersed in the world of the story.
The second half of the show’s sentiment is extremely piercing, and as a queer person, it I would define it as pure queer joy. It was exciting and refreshing to see two queer and trans people at the centre of a story, watch them develop, be challenged, and find love.
Credit goes to the masterminds and writers Sheanna Parker Russon and Dr Lillian M. Hearne for their honest and transcendent representation. They have crafted a story that feels deeply personal and profoundly universal.
By the final moments of the play, I found myself reflecting not on what these characters had endured, but on what they had gained: love, authenticity, and the freedom to become themselves. It was a moving reminder that queer stories deserve to be filled with joy as much as struggle, and that is what makes Afterglow important and special. We are left with hope.
Whether you’re drawn in by the music, the romance or its celebration of queer identity, this is one afterglow you don’t want to miss.
Afterglow is presented by Purple Tape Productions in association with Belvoir St Theatre. It runs to 25 July at Belvoir Downstairs Theatre, 25 Belvoir Street Surry Hills NSW 2010.
Tickets: https://welcome.griffintheatre.com.au/overview/4954
Website: https://griffintheatre.com.au/whats-on/afterglow/
Socials: https://www.instagram.com/afterglow_musical/ and https://www.instagram.com/purpletapeproductions/
Photo credits: Lucy Parakhina
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