Strangers must choose one memory to cling to forever as they meet in the After Life waiting room.
Based on the award-winning film from Hirokazu Kore-eda, Jack Thorne's play (also based on a concept from the award-winning creatives Bunny Christie, Jeremy Herrin and Jack Thorne) looks at the big questions facing humankind when it comes to ideas about what exists between life and death. A group of strangers, supported by employees, must focus on the sum of their lives as they await the next phase.
An adaptation of the 1998 film of the same name by Japanese film-maker Kirokazu Kore-eda, the play’s conceit is simple, yet captures the imagination like some engrossing dinner-party provocation.
[Jack Thorne] does not imitate the movie’s exquisite, patient closeups but conjures up something of its strange, transfixing mixture: like a Covid dream, in which otherworldliness is subject to anxious administrators.
There are many (quite literally) moving parts in After Life, but by some miracle each part feels tempered and bolstered by the other parts around it, rather than a series of more disparate elements tied together.