An adaptation of the 1998 film of the same name by Japanese film-maker Kirokazu Kore-eda, the play’s conceit is simple, yet captures the imagination like some engrossing dinner-party provocation.
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[Jack Thorne] does not imitate the movie’s exquisite, patient closeups but conjures up something of its strange, transfixing mixture: like a Covid dream, in which otherworldliness is subject to anxious administrators.
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There are many (quite literally) moving parts in After Life, but by some miracle each part feels tempered and bolstered by the other parts around it, rather than a series of more disparate elements tied together.
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Jack Thorne’s stunning version of Hirokazu Kore-eda’s magical realist drama is the best show to run in London since the pandemic.
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It's an odd piece, but somehow profoundly satisfying in the subtle ways it deals with grief, doubt and death.
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Although After Life is based on a film, its best parts are pure theatre. The performers play with the liveness and the artificiality of recreating a memory.
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