Afterglow

Afterglow certainly has the ingredients: a refreshingly original premise, gorgeous four-part harmonies and two deeply committed central performances. Yet while it frequently finds moments of warmth and emotional clarity, this ambitious musical never quite harmonises into a fully satisfying whole.

The story begins at the whisky-soaked “afterglow” following the Australian Barbershop Singing National Championships, where tradition-bound barbershop singer Michael (Cassie Hamilton) meets newcomer Tom (Nic Prior). What starts as a debate over who gets to belong in the chorus slowly develops into romance, as the pair navigate friendship, identity and the quiet upheaval of questioning the rules that have shaped their lives.

Hamilton is the undeniable standout. Their portrayal of Michael captures the exhausting need to fit in while hinting at the turmoil simmering beneath the surface, making the character’s emotional journey feel both believable and deeply human. Vocally, Hamilton is exceptional, bringing a richness and vulnerability that elevates nearly every scene they’re in.

Musically, Afterglow is at its strongest when it embraces its barbershop roots. The intricate a cappella harmonies are stunning, filling the theatre with a warmth and texture that reminds you why this centuries-old tradition continues to resonate. Ironically, it’s the conventional musical numbers that prove less memorable, lacking the same spark or emotional pull as the vocal arrangements that frame them.

The production begins to lose its footing in its storytelling. Spanning six years, the script repeatedly leaps over pivotal moments in Michael and Tom’s relationship, asking audiences to accept emotional shifts without fully witnessing them. The result is a romance that feels sincere but underdeveloped, with major revelations arriving before they’ve had enough room to land. The supporting characters, while well performed, are similarly underserved, often functioning more as signposts in the protagonists’ journeys than fully realised people in their own right.

The intimate staging wisely keeps the focus on the performers and their harmonies, but even strong direction can’t entirely smooth over a script that too often trades emotional development for efficiency.

There’s plenty to admire in Afterglow. Its perspective feels genuinely fresh, its performances are consistently engaging, and its vocal arrangements are nothing short of beautiful. But for a musical about finding harmony, it spends too much time skipping over the notes that would make its emotional payoff truly resonate. It’s an earnest, thoughtful production that never quite reaches the heights its premise promises.

Afterglow ran from 14 to 25 July at Belvoir Theatre.