Afterglow review

The three-strong cast approaches the piece with admirable energy, investing their thinly drawn characters with charisma. Victor Hugo’s Alex is a strong, steady presence, the most introspective of the trio. As he begins to doubt Josh’s loyalty, his self-assurance crumbles, leaving him brusque and short-tempered, frequently snapping and then lapsing into troubled silence. James Nicholson makes a charming counterpoint as younger lover Darius. Struggling to make ends meet and failing to find meaningful connection through hook-ups and dating apps, he’s awed by the wealth, comfort and sexual intimacy that Josh seems to offer so freely.

As a protagonist, Josh is intentionally difficult to like – spoiled, sulky, manipulative and constantly demanding attention. Peter McPherson’s thoughtful performance captures Josh’s naivety and selfishness and also makes clear the genuine, open affection that he feels towards both of his partners.

Ann Beyersdorfer’s stark, self-consciously stylish set features black leather, sliding mirrors and a working shower, which periodically douses the actors with cascading water. Jamie Roderick’s lighting features glowing LED strips in vivid shades of hot amber and cool mint, and one gorgeous effect depicts a clear night sky with hundreds of tiny white lights reflecting off every surface. As the story unfolds and Josh’s relationships unravel, all colour is leeched away, leaving us in a cold, monochrome world lit only by fuzzy white halogens glaring out from the gathering gloom. Like the production as a whole, the effect is polished and slick, but under the surface, it remains shallow and clangingly unsubtle.