Review: Before After, Southwark Playhouse

I decided to see this new musical based almost entirely on the intriguing premise described in the publicity info, plus the fact that the Southwark Playhouse is usually a safe bet in terms of quality. I knew nothing about any of the creatives involved or the style of the piece, so it was something of a leap of faith…

The premise that drew me in is artfully dramatised early on: a guy and a gal meet on a picturesque hill overlooking a city. She knows him instantly, but he doesn’t recognise her – he’s recovering from a traumatic accident that has left him with no memory of his previous life.

The question of why she doesn’t immediately exclaim “You’re Ben! I’m Ami! We were in love and then you disappeared!” looms large and immediate, but we soon get some of the answer: Ami has reasons for concealing the past from Ben, and the production skillfully plays out their lives pre- and post-accident until the picture eventually becomes complete.

Talking of pictures, After Ami runs a gallery whilst Before Ben was an aspiring artist. After Ami encourages After Ben (who doesn’t recall his former ambitions) to explore his creativity, and before long he’s building up to his first exhibition in her gallery.

Despite some helpful projections, where and when we are can get a little confusing, especially as the two timelines advance to their conclusions – just remember if Ben is wearing his brown jumper, we’re in After mode.

Three musicians provide the live accompaniment, sat just behind the set’s simple backdrop. Stuart Matthew Price’s score is piano led with a pleasing range of textures and a sophisticated sonic palette. The lyrics (Price with Timothy Knapman) are meaningful and largely free of cliché – I detected one “together/forever” but it was a momentary lapse more than made up for by an early song rhyming “drain another glass” with “your sorry arse”. And if the melodies don’t quite sear themselves into the memory, they are never pedestrian, with several stirring moments when the two singers’ close harmonies genuinely touch the soul.

An intimate chamber musical such as this lives or dies on the quality of its cast, and in this respect Before After comes up trumps. As Ami, Grace Mouat has a commanding voice and distinct presence that render what could come across as a shallow and manipulative character genuinely complex and human. Her chemistry with Jacob Fowler’s Ben is undeniable and a major factor in the show’s success.

Fowler himself is outstanding. His voice is beautifully tender but also gutsy when required, and he has the comic timing to make the most of Ben’s haplessness – he lands big laughs whenever the script gives him the opportunity to play for them. Above all, Fowler has charm exploding out of his very chromosomes: an irresistible relatability that has you instantly in the palm of his hand. Although Ben’s accident has left the character with no physical scars, Fowler does have a small one on his left cheek, almost hidden in his just-enough stubble halfway between his classical cheekbones and a strong jaw that quivers with emotion every time he deploys his exquisite vibrato… (Stopping here as I can sense my editor starting to blush – suffice it to say I was quite taken with Fowler’s performance).

As for the story, I’m not sure the resolution was quite earned – after 90 minutes building up the intrigue I would have liked a more dramatic reveal. But this is nevertheless a superior romantic musical that showcases some immensely impressive talent. I’m very glad I took a chance on it.

Music and Lyrics by: Stuart Matthew Price
Book and Lyrics by: Timothy Knapman
Directed by: Georgie Rankcom
Produced by: The Grey Area

Before After plays at Southwark Playhouse until 2 March. Further information and bookings can be found here.