See it if Theme of open relationships treated in a believable and relatable way. Well drawn characters+situations. Great staging especially for offoff
Don't see it if Nudity is a big part especially in act one. Though it does seem to become a non-issue 15 min into it. Gay themes are not for you.
See it if some good acting, some not. An okay story with very good staging. If you like a story about polygamy and nudity.
Don't see it if If you do not like nudity or stories about polygamy or the New York City scene.
See it if you want a realistic portrayal of the struggles in relationships. Enjoy the marvelous facial and body expression of feelings by Joe Chisholm
Don't see it if you hate straining to hear every word due to a noisy air system or you are not open to being immersed in the variety of feelings presented.
See it if you'd enjoy a somewhat superficial story about a gay threesome with much nudity and little depth, pleasing actors creating believable roles
Don't see it if you expect an in depth look at the many factors that impact a gay threesome, are uncomfortable with extensive full frontal nudity,
See it if you want to see a stark and naked view of a gay relationship conflicted by the introduction of a third man to their lives... and bed.
Don't see it if you expect anything new or interesting on the topic of polyamory; you have any issues w/infidelity, male nudity or frank sexual simulation. Read more
See it if three men engage graphically in a polyamorous relationship in bed, in bath, and beyond.Trimmed from a traditional two-act to now a speedy 1.
Don't see it if nudies, nudies, nudies!
See it if you want to see a play about a love triangle that doesn't have anything new to say about the subject.
Don't see it if you're looking for new insights into the love triangle dynamic. The play is engaging enough but it's not particularly fresh.
See it if you’d be interested to see how polyamory might play out in a romantic relationship.
Don't see it if you fear nudity. Read more
"The frequent nudity is so willfully carefree that it ends up looking forced...Gay domesticity is turning out to be tough to dramatize, as evidenced by such flawed shows as...‘Dada Woof Papa Hot’ and ‘Steve'...The soap-operatic 'Afterglow' doesn’t even reach their level...It has funny moments, albeit of the inadvertent kind...The best joke of all, intended or not, may be the sly jab at the cult of youth among some gay men: Josh is having a midlife crisis — at the ripe age of 30."
"Initially stimulating but ultimately flaccid...The story becomes as predictable as a headache after a bender...Haagenson, Reilly, and Simpson do their best to rise above the limitations of the script, but they can't overcome the fact that none of these characters is particularly interesting...The most disappointing thing is that it seems to promise and then fails to deliver a thoughtful discussion of polyamory...In the end, the play leaves us not so much with an afterglow as an anticlimax."
"The playwright, S. Asher Gelman, lets everyone speak his piece, exhaustively, with no cliché left unturned...If 'Afterglow' had been written with a modicum of wit, it might have made for a passable entertainment, but there isn't a single really amusing line over the course of two hours...What keeps 'Afterglow' passably watchable is the three talented young actors who -- very occasionally -- manage to endow these paper figures with something that passes for flesh and blood."
"Insightful, highly theatrical and fiercely acted...Mr. Gelman’s scenario and plot developments are well observed and true to life in their predictability. Gelman’s dialogue is realistic and perfectly crafted with flavorful simplicity...Despite the inevitability of its finale, 'Afterglow' is quite engrossing. Its dazzling production elements magnify its achievements...The actors all give bold, brave and intense performances that transcend stereotypes."
"Certainly Gelman has staged the play well...And the design is first-rate...Unfortunately, we end up with three people who are all kind of the same...Certainly the actors do what they can to add dimension...If at times the actors veer too quickly into heightened emotion, this is largely the result of Gelman’s script...The insularity and entitlement of all this is not only astonishingly tone-deaf, given contemporary conversations about privilege, but also makes for a weaker play."
“A substantial drama with believable characters whose emotions are real and tug at the heart...Gelman skillfully creates three real people whose strengths and weaknesses make it difficult to judge their actions…Gelman leaves a great deal up in the air, just as such a situation would end in real life…Gelman directed his play to give each character his full worth. All the emotional ups and downs are clearly communicated. The play moves along with increasing speed to its finale.”
"Although their are numerous scenarios that feel unnecessary and hard to believe, Gelman with his cast of three very beautiful and talented men know how to keep our attention...They play out their overly long and slightly melodramatic tale that delivers few surprises in story line and character development...The three actors are impressive though, turning the material into something that feels honest and heartfelt, even as it drags out the romanticism of the doomed pair."
"The playwright, who also directs, has painted no obvious villains here, just, perhaps, a portrait of immaturity and poor judgment. If we feel for anyone, it is the unborn baby...The production benefits from Ann Beyersdorfer's cleverly constructed set...The play does not necessarily add to our growing understanding about gay relationships, except to point out how they are not necessarily any different from heterosexual ones."