Afterwards is a sequel to Enz's play City Girls and Desperados, centering on a group of artists whose lives orbit the figure of Sam Shaw — photographer behind the famous Marilyn Monroe subway image and producer closely associated with John Cassavetes. At the heart of the piece is a lawsuit of seismic proportions between Sam and his son, which becomes a framework for examining forgiveness across generations. Sam's son carries the weight of a final argument with French film actress Françoise Dorléac, from whom he withheld the words she needed to hear before she drove away to her death — a moment whose reverberations travel through decades and across continents, closing off the possibility of love for those who follow.

The production is described as a spiritual theatrical novella, using an elliptical and non-linear structure in which characters move alongside younger versions of themselves through layered dimensions of time, identity, death, and truth. The work examines empathy as both a personal and generational necessity, building its dramatic world through the interplay of memory, loss, and the consequences of words left unspoken.