AFTER SUNDAY INVITES REFLECTION, CONVERSATION AND PACKS AN EMOTIONAL PUNCH

By Geeta Dhar | @yellowshoesorangeumbrella · Yellow Shoes Orange Umbrella ⭐⭐⭐⭐ | Press Invite

At first, I thought this play was going to be about food. But in Sophia Griffin’s debut play, After Sunday, food becomes the backdrop to something far deeper unravelling beneath the surface—it becomes the play’s anchor—central to the action both in a literal sense and as a powerful symbol.

Set inside an ADL (Activities of Daily Living) kitchen within a medium-secure hospital, the story follows three Black men—Ty, Leroy and Daniel—joined by the unseen but heavily influential character Vincent, whose presence (or rather absence) shapes a lot of the narrative. The men have signed up for a new Caribbean cooking group led by their Occupational Therapist, Naomi. What begins as a practical therapy session quickly becomes intense, emotional, and unexpectedly revealing.

The play delves into themes of diversity and inclusion, the emotional lives of Black men, the grip of institutional control, the unravelling of identity and grief, and the lingering impact of incarceration and systemic racism. It doesn’t shy away from difficult topics: self-harm, violence, death, mental illness, and loss are all present, handled with honesty and weight.

Although it takes a little time to settle into the rhythm of the piece, once it clicks, you’re pulled into the emotional world of each character. The live cooking adds a sensory, immersive layer—bringing warmth, culture, and memory into the room.

There are light moments woven in to relieve the heaviness, but overall, it’s a heavy, emotionally draining watch, and there is a lot to process. Still, it’s moving, tense, and beautifully faithful to the communities and experiences it represents. Everyone can find a thread of humanity to relate to—even within the darkest themes.

The acting is strong across the board, particularly David Webber as Leroy, who grounds the story with lived experience and emotional depth. Aimee Powell (Naomi) holds her own as the only woman on stage, portraying authority, care, and exhaustion with balance. Corey Weekes’ Ty brings much-needed comedic relief, though I would have loved to see his character developed further, especially given his troubled background as a young black man.

Naomi’s backstory could be explored more; she feels important enough to warrant deeper development.

The layout of the Bush Theatre means audiences seated to the left and right miss a lot of eye contact from the actors—this production might benefit from a more 360-degree staging.

I could almost imagine this play as a trilogy, with each “chapter” deep diving into the characters’ pasts and futures.

Overall, After Sunday is a strong and impressive debut. Not one for date night or a light-hearted outing, but you don’t walk away feeling bleak—you walk away feeling hope. It stays with you, invites reflection, conversation and packs an emotional punch.
After Sunday is currently running at Bush Theatre until Saturday 20 December.

WEBSITE

⭐⭐⭐⭐

Photo Credit: Nicola Young