An extraordinary new play is captivating audiences at West London's Bush Theatre, offering a profound exploration of mental health, masculinity and the power of human connection. After Sunday, the debut work from Sophia Griffin, has been awarded four out of five stars for its thoughtful, funny and moving portrayal of a Caribbean cooking group within a secure hospital.
A Kitchen with Hidden Labels
The production immediately establishes its unique atmosphere through Claire Winfield's meticulously designed set. What initially appears to be a standard food technology classroom reveals deeper layers upon closer inspection. The duck-egg blue kitchen cupboards bear labels indicating their contents - spices, baking trays, first aid kits - but those placed higher up, just beyond easy reach, display psychiatric diagnoses instead.
"Highly disturbed" reads one cupboard, while another bears the label "Dissociative Identity Disorder." This visual metaphor extends to the edge of the raised stage, where boxes of case files for unseen men await attention. The entire production becomes an examination of how society labels individuals, separating the free from the confined and shaping how people perceive themselves and others.
Characters That Resonate
Under Corey Campbell's direction, the play introduces us to three compelling characters brought together in this unusual setting. Occupational therapist Naomi, portrayed by Aimée Powell, establishes the cooking class as a liminal space where the men can experience a taste of freedom through physical theatre and culinary creativity.
The group dynamics immediately engage the audience. David Webber's Leroy represents the elder statesman, his sardonic eye rolls and world-weary demeanour contrasting sharply with Corey Weekes' Ty, a swaggering young man brimming with big ideas and little respect for authority. Darrel Bailey completes the trio as Daniel, a nervous newcomer to the group whose energy seems barely contained.
A fourth, empty workstation serves as a haunting presence throughout the production, reserved for the absent Vincent who never appears but remains a spectral figure influencing events.
Balancing Darkness with Humour
Despite the serious context of men deemed too mentally unwell for standard prison, Griffin's script masterfully weaves humour throughout the narrative. Ty's bravado and Leroy's dry wit generate genuine laughter from audiences, making the moments of darkness that inevitably surface all the more powerful and arresting.
The production employs striking physical theatre, with the male characters moving balletically between scenes, their limbs extending and bodies writhing in visible pain. This stylistic choice creates a surreal atmosphere that never loses touch with the harsh realities the characters face.
While Naomi exists more firmly in the real world, her own struggles emerge through fragmented, one-sided conversations with her employer. These muffled disciplinary exchanges jolt her like electric shocks, though this narrative device sometimes creates distance between her character and the audience.
Exploring Black Masculinity
At its core, After Sunday presents a nuanced examination of Black masculinity in its various forms. All three male characters grapple with complex emotions - anger, grief, anxiety and pain - while navigating the expectations placed upon them.
They arrive at the cooking class with preconceived notions about their identities, only to find these stereotypes challenged and dismantled through their interactions. Griffin's writing fearlessly explores these complicated depths, resulting in a theatrical experience that is both complex and occasionally overwhelming.
The production resists offering easy answers, culminating in a conclusion that embraces a bleakness previously avoided in Campbell's direction. While challenging, the ending feels emotionally truthful rather than artificially optimistic.
Practical Information
After Sunday runs at the Bush Theatre until December 20, 2025, with performances scheduled throughout November and December. Tickets range from £10 to £35, representing excellent value for a production of this quality and emotional depth.
The play runs for approximately 1 hour and 40 minutes without an interval, maintaining its powerful momentum from beginning to end. The Bush Theatre's location at 7 Uxbridge Road in Shepherd's Bush is easily accessible via public transport, with Shepherd's Bush Tube station just a short walk away.
This co-production with Belgrade Theatre represents exactly the kind of bold, socially engaged writing that has made the Bush Theatre one of London's most vital theatrical venues. It's the sort of production that will make you laugh, might bring tears to your eyes, and will certainly leave you with plenty to contemplate long after the final curtain falls.
