Welcome to the year’s most disappointing theatrical experience. This verbatim musical focused on the issue of homophobia from the Eighties and Nineties is executed so poorly that one might wonder if it is part of a campaign to undermine political theatre.

Breach Theatre’s production, a collaboration between writers Billy Barrett and Ellice Stevens along with composer Frew, debuted in 2023 at London’s New Diorama, the same venue that previously showcased the acclaimed Operation Mincemeat. Following its presentation at the Edinburgh Fringe and a UK tour, it has now made its way to the Jerwood Theatre Downstairs at the Royal Court, which had recently appeared to be on an upswing under the leadership of David Byrne, the former head of New Diorama.

Sadly, ‘After the Act’ is more disappointing than any previous productions I encountered under the old management of the Court. One can only hope this is a temporary setback. Barrett and Stevens have chosen a significant topic—the Section 28 legislation from the Thatcher era that prohibited the promotion of homosexuality in schools—but they have dumbed it down to a series of tedious vox pops and transcripts reminiscent of Hansard, set to Frew’s monotonous synth-and-drums composition, which resembles the Pet Shop Boys but lacks compelling melodies.

While the intent may be commendable, the overall execution feels like a lackluster student production. The choreography is uninspired, the set design appears low-budget, and Barrett’s direction does little to enhance the performances of cast members Stevens, Ericka Posadas, Nkara Stephenson, and Zachary Willis.

Some nostalgic stories shared by campaigners who protested during a BBC news bulletin are worthwhile. For those under 40, it offers a look into a past where the mention of the word ‘lesbian’ in print could evoke panic among journalists. However, the agitprop format stifles any opportunity for deeper exploration of the subject.

Watching the opening night audience erupt with enthusiasm for a subpar disco-style portrayal of Margaret Thatcher evokes memories of GLC demonstrations and ‘smash the Tories’ banners. It is noteworthy when someone claims, ‘This current era mirrors the Section 28 situation for the trans community.’ This perspective may spark debate among some feminists, I think. ★★★★☆ 120 minutes To June 14, royalcourttheatre.com