Afterglow
Writers: Sheanna Parker Russon and Lillian M. Hearne
Co-Directors: Cassie Hamilton and Lily Hayman
Downstairs Theatre, Belvoir
July 9 – July 25, 2026
It’s unusual for a show to engage its audience from curtain up to the finale, but the laughter started almost immediately and continued to bubble up intermittently, as the play depicted the shenanigans of “afterglow” – the whisky fuelled aftermath of the Barbershop Championships, leading to boozy harmonising into the early hours.
The play opens with the lively, charming quartet bursting into a four-part acapella rendition of “We are”, their delightful harmonies enthusiastically delivered. For the younger members of the audience, this is perhaps their first exposure to the tradition of barbershop singing. It’s a performance genre with its own peculiar rule set, and the passionate dedication of the singers, who compete biannually in the Barbershop Championships, is impressive.
Billed as a rom-com of sorts, writers Sheanna Parker Russon and Lillian M. Hearne have crafted an engaging, funny mini-musical based on post-competition partying. The constant social interaction between the variety of genders in the quartets naturally lead to some complex relationships but also generates a rich supportive camaraderie. This tolerance is reflected in the character of Rupert (Nat Jobe), a long-standing chorister who is conservative, long-married and glories in the old-fashioned Aussie traditions. In contrast, Matt (Lincoln Elliott) is your confident lad-about-town, fun and likable despite his slightly macho tendencies.
The romance arises from the relationship of two other members, Michael and Tom, who meet after the 2012 competition and are drawn to each other. Lead singer Michael (Cassie Hamilton) is seemingly becoming aware that he is on the cusp of a gender-change but is deeply uneasy about accepting his new status. Tom (Nic Prior) is more worldly-wise, challenging and somewhat radical, wondering why women aren’t allowed to sing at barbershop competitions. As the years pass, they develop a deep closeness, movingly expressed in their stage presences.
The costuming (Geita Goarin) is certainly gorgeous and very authentically barbershop – striped waistcoats, bowties and straw boaters stand out on the simple stage set. The compact size of the Belvoir’s Downstairs Theatre serves to create an intimate ambiance for the audience, amplified by the closeness of the singers when they are delivering the sweet harmonies of their very competent vocals.
Commenting on their objective for creating the play, Sheanna Parker Russon said: “We have aimed from the beginning to bring a unique trans story to the stage that shows the raw complexity of trans womanhood.”
Afterglow certainly has all the feels – warmth, humour and a tender rom-com style exploration of love and, perhaps, just friendship between the genders.
