The Stage

Afterbirth

Published Friday 16 September 2005 at 12:55 by Roz Britton

Making Trainspotting look like an episode of Balamory, this bleak urban tragedy takes few prisoners with its disturbing portrayal of incest, mutilated babies and paedophilia in north London’s council estates.

Hopelessness and desperation is at the core of this drama, which allows a glimpse into the life of underage rent boy Baz, his junkie mother, and his aged punter, Ken.

Baz’ realisation at the age of 14 that he is condemned to a life of drugs and vice - a life he knows he will never escape - brings tears to one’s eyes. David Judge gives an emotive performance in the role, displaying an unnerving understanding of a child torn apart by, but unable to prevent, the inevitable destruction of his family.

But it is Paul Moriarty’s Ken - the family man with a penchant for underage boys - who steals the show. That a paedophile can be played as a troubled soul and one who indeed is likeable and a father figure who clearly feels some kind of paternal love for the child whom he has been abusing, is a brave move that shows Moriarty’s (and writer Dave Florez’s) understanding of the human condition.

Despite a strong script and rare performances, Afterbirth has its hiccups. Surprisingly, from such an experienced director - Deborah Paige is former artistic director at Sheffield’s Crucible - the stage is not always used to its best advantage, with many scenes played in the aisles where they can only be seen by a minority of the audience.

That aside, Afterbirth is an extraordinarily powerful play by a new writer with an extraordinarily strong and original voice.