After the End, Pleasance Courtyard
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Dennis Kelly's tense two-hander begins in an underground nuclear shelter. Tony McGeever and Helen Darbyshire play colleagues, Mark and Louise; they'd been at her leaving drinks when a terror attack struck. Being a paranoid sort of guy, Mark's got a bunker in his backyard which he happens to keep all stocked-up with supplies. He's taken Louise there, apparently saving her life.
Unable to leave for two weeks in case of nuclear fall-out, it soon becomes something of a pressure cooker. Louise is brusque, brisk, and horrified at her inability to feel anything at the knowledge that everyone she ever knew is probably dead. Office dweeb Mark wants her to play Dungeons and Dragons with him, to keep her mind off things.
It's a seemingly innocent enough request, but her tetchy refusal to play along begins to expose unsettling faultlines in their relationship, and a power struggle which takes on increasingly nasty overtones ensues. Mark's paranoia - initially a source of comedy in what, in its early stages, is a very funny play - begins to grip. And After the End will go to some pretty brutal places in its hour and 15 minute run time.
Kelly's taut, expletive ridden script is realised skilfully here; both actors have cracking comic timing but they both also manage to take their characters to their cracking points with control, never straying into hysterics. The result is an absorbing and sharply delivered exploration of human behaviour, pushed to extremes.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments