After Sunday – Bush Theatre, London

Sophia Griffin’s After Sunday explores healing and harm in a medium-secure hospital’s weekly Caribbean cooking group.

After Sunday

I’m not sure that the saying ‘the way to a man’s heart is through his stomach’ quite flies in this day and age. Smacks a bit of traditional gender roles. But I would argue that the way to an audience’s heart is through their stomachs. There’s a real belly-filling warmth to some of the kitchen-centric plays I’ve seen, from My English Persian Kitchen to The Hot Wing King. Cooking for others is a way to build confidence and self respect, honour memories, and show love.

After Sunday, a new work by Sophia Griffin produced by the Belgrade Theatre, Coventry, and the Bush Theatre, understands this well. For occupational therapist Naomi (Aimée Powell), this is more than just a cooking group for service users of African and Caribbean heritage. It’s a celebration and an opportunity to make a meaningful difference in people’s lives. And, as we learn over the course of the Sunday cooking lessons, it’s an extension of her own reconnection with her heritage.

But it’s not easy. Particularly in the context of a medium-secure hospital. Each member of the group brings their own baggage. Daniel (Darrel Bailey) is fragile, really struggling with being separated from his family. Leroy’s (David Webber) slow and gentle manner belies a heinous act in his past but also a fear of what comes next. And Ty (Corey Weekes) is a bundle of energy, bravado and humour covering wounds he’s buried so deep he’s almost forgotten them. As Naomi encourages them to open up over ackee, callaloo and dumplings, will the kitchen become too much of a pressure cooker?

Another Great Production from the Bush

After Sunday tackles these characters, as well as intersecting themes of inequality, racism, mental health diagnoses and institutionalisation, with real empathy. I wrote recently about the sound of quiet crying at the Bush Theatre before the curtain comes down. This was another such production, with many (including myself) emotionally affected by the stories. It was interesting to see the commonalities between the struggles the men faced and those faced by Naomi as she throws more and more of herself into her passion project, neglecting other areas of her life.

The production amplifies the strengths of the writing. Director Corey Campbell ensures chinks in each character’s armour for their vulnerabilities to peek out. The pacing is good, and the 90 minute, no interval run time passed very quickly indeed. The set by Claire Winfield is clever, evoking perfectly the institutional ADL (Activities for Daily Living) kitchen, with a few touches to keep us uncomfortable. The open storage around the base of the stage is a thing of genius. Likewise a flourish in the costumes (Naomi Thompson) which I won’t spoil for you. XANA‘s sound design is as seamless and fitting as ever. And Ali Hunter’s lighting helps to demarcate the space and carry us through the movement sequences tying the action back to the broader themes.

After Sunday is a meaningful work on serious themes. But it’s also a warm and generous work with a lot of humour even as the story takes darker turns. Another great production from the Bush (and Belgrade Theatre), and well worth getting your hands on some tickets.

Salterton Arts Review’s rating: 4.5/5

After Sunday on until 20 December 2025. More info and tickets here.