Review Roundup: Critics Sound Off On Toronto Run of LIFE AFTER at the Ed Mirvish Theatre

What did critics think of Yonge Street Theatricals's LIFE AFTER, the new musical now in performances at CAA Ed Mirvish Theatre? With book, music & lyrics by Britta Johnson, the limited engagement has been extended and runs through May 10.
  
LIFE AFTER is the celebrated and luminous musical that premiered in Toronto in 2017 and played a sold-out run at the Berkeley Street Theatre. It was subsequently produced at San Diego’s Old Globe Theatre and Chicago’s Goodman Theatre. Now it returns to Toronto's CAA Ed Mirvish Theatre in a major new production helmed by Tony Award and Olivier Award-winning producers Yonge Street Theatricals for a strictly limited engagement.
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 embarks on a quest for truth, unravelling the events that changed her family forever. Filled with heart, and extraordinary music, the show offers a powerful exploration of love, memory, and the journey of moving forward.
 
LIFE AFTER's cast features Isabella Esler, with Jake Epstein, Chilina Kennedy and Mariand Torres.

What did the critics think?

Joshua Chong, Toronto Star: Sonically, Johnson’s score is more akin to the works of Sondheim, and modernist composers like Benjamin Britten and Igor Stravinsky, than the typical pop fare that’s become so ubiquitous in musical theatre today. The music of “Life After” is dense, layered and richly coloured. Johnson’s use of leitmotifs, musical phrases that are associated with certain characters and evolve as the narrative develops, is especially striking and effective. 

Glenn Sumi, Go Ahead Sumi: A couple of weeks ago, in a preview piece I wrote about the show’s development, Tippe admitted: “Our design is big and ambitious, because I think an original musical deserves that. Also, why shouldn’t a story about a 16-year-old girl get something that feels epic?” Amen.

Liam Donovan, Intermission Magazine: Although Esler’s sensitive performance anchors Life After, much of what happens around Alice is rather funny. As the Furies transform from character to character, they dole out casseroles and hair flips with sarcastic flair. The sublime Pulo sprints from comic beat to comic beat, feasting on her many punchlines. Playing English teacher Ms. Hopkins, Chilina Kennedy channels a bit of Glee’s Sue Sylvester when she mutters that students disappointed about their marks should go home and “blog about it.” And Epstein makes for a far dorkier Frank than Dan Chameroy did in 2017. 

Lynn Slotkin, The Slokin Letter: It is this expanded version (90 minutes and 22 songs) that is playing at the Ed Mirvish Theatre (2,000 seats, but only the 1000 seat orchestra section is being sold) in Toronto with the intention of taking it to Broadway. I get a sinking feeling that Britta Johnson let go of her poignant musical and allowed it to be distorted out of proportion by those who want to take it to Broadway, a place that has proven again and again, it rarely appreciates delicate work like this used to be. Disappointing and heartbreaking.

Martin Morrow, The Globe and Mail: Alas, eight years after I saw its first major production, at Canadian Stage, it still isn’t everything it could be. I may be in the minority, however. Since that time, it’s gathered many devoted fans, foremost among them Yonge Street Theatricals, who have helped Johnson steadily scale up her work from the chamber musical we saw at the Berkeley Street Theatre to the dazzling show now on display at the Ed Mirvish, where every shiny surface seems stamped with “Next stop: Broadway.”

Lori Ossip, NextMag: Musically, Johnson’s score is pretty, complex and layered with a modern twist, though perhaps a tad atonal in effect that may not be to everyone’s taste. The standout number of the show, Poetry, has conveniently been used in all the promotional material — with good reason. It’s a particularly lovely song, performed with heart and care by Esler. I wish the rest of the score packed the same punch as that final number.

Lauren Gienow, BroadwayWorld: Just as the Furies are a conduit for Alice’s inner thoughts, needs, and fears, Isabella Esler’s portrayal of Alice provides a conduit of catharsis for the audience. We find ourselves feeling what Alice is feeling and needing the answers she needs – and what's most profound is that as this changes for her throughout the show, it changes for us as well. This link between Artist and audience is a testament to Esler’s vulnerable and grounded performance. She sings the score beautifully, and often through tears - which, on a technical level, I imagine cannot possibly be easy!