After Sunday at Coventry’s Belgrade Theatre and London’s Bush Theatre – review

After Sunday is a tender and powerful collaboration between the Belgrade Theatre in Coventry and the Bush Theatre in London. Written by Sophie Griffin, it gives a nuanced exploration of trauma and healing within the confines of the mental health and criminal justice system, specifically through the lens of a group of African and Caribbean men.

By exploring the interwoven stories of an occupational therapist and four men in a secure hospital, Griffin crafts a piece that is as emotionally striking as it is socially resonant. She brings us a tale that has many points, which it succeeds in making, whilst maintaining credible and complete characters.

Ty, Leroy, Vincent and Daniel have joined a therapeutic cooking group run by occupational therapist Naomi. Hoping to reconnect the men with memories of home, family, and culture, infusing a sense of worth in a group of people who are often forgotten by the system, she toils to keep things together, even when the going gets tough.

Divided into group sessions, the story unfolds through conversations and cooking. Director Corey Campbell has expertly punctuated these with short dance interludes which reflect the disconnect and struggle that are often hidden, subconscious or cannot be expressed through words.

The cast is sensational. There is such a wealth of talent and experience packed into this production. Each actor commands the stage superbly, working together seamlessly to unfurl their character’s story. Aimee Powell as Naomi is mesmerising to watch; she traverses each emotion with ease. Corey Weeks as Ty embodies his character to perfection with his quick banter and wit galore. Darrel Bailey as Daniel brings stoic strength and offers a balance to Ty’s fast-paced energy. David Webber as Leroy brings such a skilled depth of emotion that there is barely a dry eye when he recounts his relationship with his daughter. Collectively, the standing ovation is well-deserved.

Claire Winfield and Naomi Thompson’s respective set and costume designs are genius. We are greeted by a raised open kitchen, standing on a platform filled with files, case notes, and patient record boxes. The kitchen cupboards are labelled with their containing utensils or ingredients, but look a little higher and you see the upper, hidden cupboards are labelled with various mental health conditions.

The addition of live cooking enriches the sensory experience, invoking memories for the audience and creating new ones. The use of Caribbean food as a metaphor for memory adds depth and culture, specifically becoming a symbol of love, loss and reconnection.

Above the kitchen is a stained cloth which at first glance could be mistaken for a soot-stained ceiling; however, it’s remarkably reminiscent of Rorschach’s psychological inkblot test. The chefs’ whites resemble a straitjacket, and there is a missing wedding ring after a strained conversation with a loved one. Meticulously thought out and enhanced by lighting and sound design by Ali Hunter and Xana, this production is a multilayered marvel.

What sets this play apart is its gentle yet unflinching approach to complex themes. While the subject matter could easily veer into bleak territory, the play is generously infused with moments of warmth, humour and humanity.

After Sunday offers an honest, empathic portrayal of a world that is often hidden, misunderstood and misaligned, treating its characters not as case studies but as complex, complete individuals. They are humans with stories and lives beyond their diagnoses and labels. It’s a credit to both the writing and the production that the play feels at once intimate and expansive, inviting us to reflect on systems of care, identity, the meanings of home and hope… and wondering what comes after Sunday?