After Life

On Saturday 5th April, I was delighted to accept an invitation to see the first play from one of District 2’s newest groups, Misfits Amateur Theatre Blackpool, who were performing Jack Thorne’s challenging play After Life.

Adapted from the acclaimed 1998 Japanese film, After Life invites us into a quietly extraordinary place: a bureaucratic waystation between life and whatever comes next. Here, the recently deceased are met by a group of caseworkers whose task is both simple and profound — to help each person choose one cherished memory from their life. That single moment will then be recreated, perfectly, for them to take into eternity, with all other memories erased.

Over the course of a single week, we see a stream of individuals wrestling with the challenge: some immediately recall a moment of joy or peace, others struggle to decide, sifting through regrets, relationships and fleeting instants of beauty. As the caseworkers guide their charges — while quietly carrying their own burdens — the play explores memory, meaning, and what it is that gives a life its shape.

In the director’s chair for the Misfits’ inaugural performance was Martine Bell, who faced a huge and complex task. This is a play of multiple narrative threads, short scenes which don’t necessarily resolve, and deeply complicated characters. Bell handled much of this well, but the production didn’t quite reach the full potential of the source text. The unconventional venue — The Wainwright Club, Blackpool — posed challenges. While the staging worked reasonably well, it was harder to sink into a ‘theatre’ mindset. Noisy doors, audible backstage chatter, and the difficulty of achieving a blackout occasionally distracted from the action. The audience, too, seemed slow to settle, perhaps due in part to the informal performance space.

I also overheard some audience members noting the lack of a language warning — something worth considering in future, particularly when families are in attendance. This is not a piece aimed at younger audiences, and a pre-show advisory would help manage expectations.

That said, I want to give full credit to the Misfits for their choice of play. Many established companies would shy away from a text as intricate and emotionally complex as After Life. Taking it on as a first production shows vision, bravery and a willingness to push artistic boundaries.

Performances were mixed, with some moments of great strength and others that would benefit from further refinement. Heather Crump (Obafemi) occasionally spoke too quickly and quietly, leading to some lost lines, but displayed pleasing physicality and stage presence. Charlie Towers (Beatrice) delivered a sensitive and nuanced performance, with excellent pacing and clarity. Declan Bracewell (Four) brought energy and commitment, though at times could have benefited from a little more restraint. Cordy Jones (Five) has clear talent, but the frequent use of the upper register of her voice risked becoming overly strident. Andrew Dutton (Hirokazu) gave a thoughtful portrayal, though some of the more emotional lines were delivered so gently that they were difficult to catch. Ceri-Ann Corcoran had an impressive physical presence as Seven, but could slow her delivery to ensure the audience absorbs the detail of her lines. Andy Welsh (Two) was a highlight, bringing assurance, control and instinctive pacing to anchor the production. Fern Crump (One) gave a consistent, well-considered performance, interacting effectively with her fellow cast members.

A few line stumbles and hesitations cropped up, but the cast pushed through and recovered well, ensuring the story kept moving forward.

Ultimately, this was an ambitious and brave first outing for Misfits Amateur Theatre Blackpool. They chose a difficult, thought-provoking piece and approached it with commitment and creativity. While there is room for development, there is also a strong foundation here — and I have no doubt that, with experience, this group will grow in confidence and skill. I look forward to seeing where they go next.

For a first production, the Misfits have shown they’re willing to be bold, take risks, and challenge both themselves and their audience. That spirit is the lifeblood of great theatre, and while this piece didn’t always hit every mark, it proved that this is a company with the ambition and drive to keep evolving. I look forward to watching their journey unfold and to seeing what they bring to the stage next.

 

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