Yonge Street Theatricals’ production of Life After is a must-see for anyone looking for a moving, musical exploration of grief, family, and moving forward. As a theatre lover, I jumped at the chance to experience this show, even though I didn’t know much about it beforehand. Life After first debuted at the Toronto Fringe Festival in 2016, and now, with book, music, and lyrics by Britta Johnson and direction by Annie Tippe, it has been beautifully brought to the stage once again.
Life After: The Details
- It is a limited engagement, on until May 10th, 2025
- Location: CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto
- Running Time: 90 minutes (there is no intermission)
- Tickets: Mirvish.com
The Story
Despite being a famous self-help author, Frank Carter’s optimistic advice offers little solace to his 16-year-old daughter, Alice. After his untimely death, Alice emba
The Review
Life After boasts one of the most powerful scripts I’ve encountered in recent memory. The story of loss, guilt, and grief strikes a deep chord, yet it avoids feeling maudlin, offering a nuanced narrative that resonates deeply. Life After avoids being cliche with a powerful story that also includes laugh out loud moments.
Isabella Esler, as Alice, delivers an unforgettable performance. Her portrayal of a grieving daughter on a mission for truth, not to absolve herself of guilt, but to understand her father’s death, brings Britta Johnson’s words and music to life in a raw and deeply emotional way. Mariand Torres, playing Alice’s mother Beth, has one of the standout moments of the evening with her powerful rendition of the song “Wallpaper.” It’s a moment of heartache and reflection, showcasing the emotional depth of both the character and the performance.
Supporting characters, including the “Furies” (fans of Alice’s late father) and her hilarious best friend Hannah (Julia Pulo), contribute to the richness of the production. Each character brings something unique, from poignant moments to comedic relief, helping to lift the weight of the story without detracting from its emotional core.
Jake Epstein, as Frank, captures the essence of the character with warmth and complexity, leaving the audience feeling connected to the figure who is no longer physically present but whose influence lingers.
While I may not remember every song as I would a classic like Wicked, Life After stands out because of its emotional impact. The story lingers long after the curtain falls, and that’s what makes it so special. Some may debate whether it’s ready for Broadway, but I believe it is. Whether or not it makes it to the Great White Way, Life After is a show that deserves to be seen. Take the time to experience it in Toronto—it’s truly worth it.
