Janet Moran’s new play, set after the repeal of the Eighth Amendment, is a lively production for Once Off Productions that is not shy about its unequivocal purpose. “Afterward” is set in an English clinic, providing a background for three women to share their differing reasons for having abortions, from their hospital beds.
Present in the story is a woman referred to as “Cork Woman,” personified by Kate Stanley Brennan, a mother of three who is worn out. Sophie Lenglinger plays as a London-based trainee solicitor, “English Woman,” who is tied up with her profession. Lastly, Ebby O’Toole-Acheampong represents the ‘Young Woman” from Dublin in denial of a rape incident.
Moran’s strategy to stage the after-Eighth Amendment comedy in an English clinic reflects the continued challenges surrounding abortions in Ireland. The married character fears social scrutiny whereas the younger patient fails to meet the requirements necessary.
Despite the drama’s schematism, written and directed by Moran and Conall Morrison, it manages to pack an impressive amount of character revelation into brief dialogues. The audience cannot overlook that each character represents a demographic sector. Yet, the flawless acting and sharp dialogue soon overshadows such reservations, highlighting the bond formed between the women, a bond unlikely to last beyond their hospital stay.
Highlighting one actor seems unfair, but O’Toole-Acheampong stands out with her quiet performance as a vulnerable individual who comes to terms with her situation. Moran humorously plays on her innocence, allowing her character to reveal her mode of transport was a ferry, to which the Cork Woman sweetly retorts about the cheaper air travel options now available.
The play makes it clear that sentences are often left intentionally incomplete. The English Woman, for instance, inquires about the identity of the man who escorted the Young Woman, played by David Rawle of Moone Boy, who turns out to be a naive friend.
“Posterior,” leaves an unforgettable impression, thanks to the actors’ commendable performances and the engaging dialogue.
There’s no intended insult in my comparison of this play, as it concludes with a free-ending, to a powerful, earnest situational comedy. The personalities within the narrative are highly distinct and bright. The comedic elements are particularly hearty.
The play is both melancholic and charming.
Watch the show at the famed Abbey Theatre, during the Dublin Fringe Festival. It will be running until Saturday, the 14th of September.