After Party at the Traverse is one of the longer offerings at this year’s Fringe. Clocking in at well over two hours and even featuring an interval, a rarity in Edinburgh, Morna Young’s new play sets out to tackle a hugely important and timely subject. Unfortunately, despite its ambitious scope, it never quite manages to make the impact it promises.James and Cass arrive at the grand country home of his former movie star grandmother Vivienne, affectionately known by the family as “Glam Ma” thanks to her glamorous lifestyle. It is her 80th birthday and a selection of family members have gathered to celebrate. Also present are Vivienne’s very different children, several grandchildren, an ex husband and an ex wife. It is a large cast of characters with an abundance of relationships and histories to keep track of.
The problem is that very few of them emerge as fully formed people. While the script gives everyone plenty to say, most feel defined by a single characteristic or viewpoint. As a result, it becomes difficult to invest in either the characters themselves or the various conflicts unfolding between them.
At the heart of the story is Vivienne’s decision to pursue assisted dying following a terminal diagnosis. Given the prominence of the issue in public debate, After Party feels perfectly positioned to explore the complex ethical, emotional and practical questions that surround it. There is rich dramatic material here, and plenty of opportunity for meaningful discussion.
Instead, the play devotes much of its runtime to family arguments that quickly become repetitive. Characters talk at each other rather than with each other, and scenes often circle the same points without ever digging beneath the surface. Time and again, opportunities to explore the central issue in greater depth are passed over in favour of family squabbles that feel increasingly contrived.
Katie Posner’s production is handsomely staged, and the cast work hard with the material they have been given. There are flashes of humour and occasional moments where the emotional stakes begin to emerge. Yet the pacing struggles throughout, with the lengthy running time only serving to highlight the script’s structural weaknesses.
After Party is clearly driven by admirable intentions and an important subject. The ingredients are all there for a compelling piece of theatre. But by burying its most interesting questions beneath an overcomplicated family drama, it ultimately misses the opportunity to say anything particularly meaningful about the issue at its centre.
Listings and ticket information can be found here
