Seeing the words, a section 28 musical made me think – is the only way to tackle silence through song?

In 1988, Section 28 of the Local Government Act was brought into effect and banned the ‘promotion' of homosexuality in schools and the ‘acceptability of homosexuality as a pretend family relationship'. 

After the Act is premised as an exploration of the voices that fought back and covers a widespread range of people who were affected in a musical format. 

There are just six people on stage, Calie Hough, Ellice Stevens, Ericka Posadas, Nkara Stephenson, Zachary Willis and Frew (two of these are the musicians). The cast take on a range of roles throughout, with the names of their character appearing behind them. 

It's the 80s, so of course we opened with synths, and find ourselves in a school setting. Everyone who was a child of the 80s and 90s is going to recognise the benches and be transported back in time. The video wall is utilised well to add context and ground the show in realism.

The musical numbers sound like grown-up versions of Matilda. The lyrics and script are said to all be taken from real words that were documented, and this sometimes adds strength to the songs. In other instances, the songs just feel like a way to speed up the story. 

Weirdly, as Act Two opens, it does so with a parody of Margaret Thatcher, and whilst it's high camp, it doesn't match the rest of the show. That being said, it is very much needed to revive you after the interval.

In Act Two, we see two of the most powerful narratives: Zachary Willis (he/him) plays Ian, who deals with self-harm and suicide uses chalk on a blackboard to convey his inner turmoil.

Nkara Stephenson (he/they) plays LB who faces a religious group trying to cleanse her of her demons. The skipping rope she's using whilst telling her story adds pace and builds to an emotional crescendo.

There's a moment of reflection at the end of the show which compares Section 28 to the way the Trans community are being treated now. This show made me consider the recent news, (as any good show with a social topic does).

We are in 2025, and the UK has slipped to position 22 in the ILGA Europe's rankings of 49 countries measuring LGBTI human rights and is now below average. 

37 years on, we might see history repeat itself soon, as Pride Flags will no longer be raised by Council offices occupied by the Reform party. 

The last show I went to made the timeless joke that musical theatre fans are typically middle-aged women and gay men. Whilst it's wonderful to be part of that community, keeping theatre thriving, it does worry me that we're stuck in an echo chamber. 

I hope that After The Act is viewed by a wider clientele of musical theatre fans, and I encourage you to book an extra ticket for your straight friend so that they can see the impact Section 28 had, and how brave the lesbians were who raided the BBC and The House of Lords. 

After The Act mixes comedy with purpose and showcases history through lived experience. Penis jokes will always get a laugh, acts of unity will always shed a tear. The final song in the show is a strong anthem and changed my mind completely. This show did need to be a musical, because singing together creates a collective voice: ‘Because who the hell's gonna get a closet / Big enough for all / Big enough for all of us?'.

After the Act is now showing at the Royal Court Jerwood Theatre Downstairs. The show is written by Billy Barrett and Ellice Stevens, directed by Billy Barrett, with music composed by Frew. 

 

It runs until 14 June. Tickets: here.

 

Review: James Dix  Photo: Alex Brenner