‘Afterglow’ Hits Nearly All The Right Notes

Heartfelt, funny, buoyed by heavenly harmonies and armed with a refreshingly original premise, Afterglow certainly has the ingredients. Yet while it frequently finds moments of warmth and emotional clarity, this ambitious musical rom-com never quite harmonises into a fully satisfying whole.

Written by Sheanna Parker and Lillian M. Hearne, Afterglow unfolds across six years at the whisky-soaked “afterglow” following the Australian Barbershop Singing National Championships.

It’s here that Michael (Cassie Hamilton), a tightly wound barbershop purist trying desperately to be one of the boys, meets Tom (Nic Prior), whose wonky ponytail, ill-fitting suit and refusal to accept tradition for tradition’s sake quietly turns Michael’s world upside down.

What starts as a debate over who gets to belong in the chorus slowly develops into tender romance, as the pair navigate identity and belonging.

Hamilton is the undeniable standout, capturing Michael’s frantic need to fit in while hinting at the turmoil simmering beneath the surface. It’s a beautifully measured performance that never asks for sympathy, only understanding, while Hamilton’s powerhouse vocals elevate almost every song they’re given.

Prior is equally outstanding, bringing swagger, warmth and effortless charisma to a character starting to explore their genderqueerness. Their razor-sharp comic timing, sly smiles and deadpan looks keeps the laughs coming, while a succession of fabulous costumes, particularly one unforgettable tartan, high-waisted look, becomes its own celebration of self-expression.

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.