Written and directed by S. Asher Gelman for Midnight Theatricals
Eternity Playhouse, Darlinghurst
Following a successful Australian premiere season in Melbourne, Afterglow has arrived in Sydney, opening at the Eternity Playhouse in Darlinghurst soon after a hectic Sydney Mardi Gras weekend. Many in Tuesday night’s audience appeared to have just come from a month-long queer social marathon, but any lingering fatigue vanished when the show started with Alex (Julian Curtis), Josh (Matthew Mitcham), and Darius (Matthew Predny) naked and tangled together on stage. If anyone in the theatre was expecting subtlety, they were quickly disappointed.
From the start, the intimacy level in this production is striking. The choreography of the physical scenes is slick and meticulously executed, making sure the eroticism feels deliberate rather than gratuitous. Props to intimacy coordinator Chloe Dallimore. Described by some fans as “Heated Rivalry in the flesh,” Afterglow embraces its sensuality unapologetically. Judging by the knowing laughter and audible gasps from the opening night crowd, they understood exactly what they’d come to see.
But beneath the sweat, skin, and sexual tension is a script that crackles with wit. S. Asher Gelman’s dialogue is quick, funny, and refreshingly authentic. It’s the kind of sharp, sarcastic banter many gay men will instantly recognise, the rhythm of conversations you hear at brunch, in Darlinghurst bars, or group chats after midnight. For actors, it’s a dream: snappy one-liners, emotional honesty, and plenty of opportunities to deliver hilarious yet devastating observations about relationships and desire.
This authenticity might be the play’s greatest strength. Instead of presenting an abstract meditation on modern love, Afterglow feels like a slice of queer life. Everyone in the audience will recognise elements of these characters. We all know someone like Alex, someone like Josh, and someone like Darius. That familiarity draws the audience into the story quickly and keeps them invested as the emotional stakes rise.
The premise seems simple. Josh and Alex are a married couple in an open relationship who invite the younger Darius into their bed for what’s meant to be a casual encounter. But what starts as a one-night stand soon becomes more complicated. Emotional connections form, boundaries get blurred, and the trio find themselves wrestling with competing ideas of love, loyalty, and commitment.
What follows is a raw, often confronting exploration of polyamory and the realities of modern gay relationships. Gelman’s writing doesn’t moralise or offer easy answers. Instead, it lets the characters sit in their mess, something that feels refreshingly honest, especially in a genre that often prefers neat endings.
Julian Curtis anchors the production as Alex, delivering a layered and emotionally genuine performance. Alex starts the play as the more cautious half, and Curtis captures his growing discomfort with subtlety and vulnerability. As Josh and Darius’s connection deepens, Alex’s internal conflict becomes the play’s emotional centre. Curtis handles that descent beautifully, letting the audience feel Alex’s frustration and heartbreak.
Matthew Predny’s Darius is equally compelling. Wide-eyed, earnest, and charming, Darius represents both possibility and danger for the couple. Predny brings natural charisma and has undeniable stage presence. His performance has an innocence that makes the character deeply sympathetic, even as the situation gets more complicated. It’s an impressive turn from a promising young actor.
Matthew Mitcham — Olympic gold medallist turned cabaret star and now actor — has arguably the hardest role of the night as Josh. The character is vain, impulsive, and at times frustratingly self-absorbed. Winning over the audience while playing someone so flawed is no easy feat. Mitcham’s likability helps soften the edges of the character, but he commits fully to Josh’s narcissism, letting the character sit unapologetically in his flaws. The result is a performance that feels sincere and believable, even when Josh’s choices are maddening.
The chemistry between the three actors is strong, and as the play develops, the tension in the room becomes almost tangible. In a one-act piece that relies heavily on emotional escalation, maintaining momentum is vital, and the cast largely succeeds in keeping the audience engaged.
Ann Beyersdorfer’s set design features movable boxes that the actors rearrange between scenes to create different spaces. While visually interesting, these transitions can sometimes feel awkward and briefly interrupt the flow. In a play so focused on emotional intensity, these pauses can slightly soften the dramatic energy.
Nonetheless, these minor pacing issues don’t overshadow what’s ultimately a highly engaging night at the theatre. Afterglow delves into questions many queer couples quietly wrestle with: where do the boundaries of an open relationship lie? How do you balance sexual freedom with emotional intimacy? And when those lines get blurred, is the risk worth the potential cost?
By the end, relationships have fractured, loyalties are tested, and the audience is left with a tough but compelling question: was it all worth it?
Provocative, funny, and unapologetically queer, Afterglow offers a frank and entertaining look at contemporary gay relationships, messy, complicated, and deeply human.
Afterglow, written and directed by S. Asher Gelman for Midnight Theatricals, is playing at Eternity Playhouse in Darlinghurst until 22 March 2026.
In his past lives, Damien was a drag queen and musical theatre actor. He made his stage debut as a fat cow in a school production of Joseph in 1984. He holds a BA with a major in drama from the University of Newcastle. He is completely obsessed with musical theatre – especially Broadway divas.
Since relocating to Sydney at the beginning of 2024, he attends every musical he can get to and lives with his partner and grumpy 12-year-old poodle.
His claim to fame is that he once met Patti Lupone in New York and she was nice to him.