The Place, London
September 28, 2023
Solène Weinachter’s first solo work, After All, is an exploration of mortality and, in particular, how we say goodbye. It is very poignant and thoughtful at times, especially if you’ve recently been through a family funeral yourself, but there’s also fun along the way.
Weinachter kicks off with a story about her Uncle Bob’s funeral. The stage may be largely bare but the scene is so beautifully described, it can be pictured easily. With light touch humour she tells us that, as family and friends sat in the crematorium’s chapel in silence, it turned out no-one wanted to give a eulogy. There were no readings or music prepared either. So, the master of ceremonies offered to play something. A panpipes ‘My Way,’ to which Weinachter’s father insisted she danced.
That monologue is a springboard into musings on loss, remembering and being remembered. Just like that dance, from quirky beginnings, it transforms into something rather special.
Photo Genevieve Reeves
That funeral experience made Weinachter want to be prepared fully for her own leaving. Using monologue, dance and film, everything is planned. Members of the audience become family, friends and strangers. The fake (as she admits) home video is surprisingly affecting especially when she discusses loneliness and childlessness, albeit briefly. But even this scene starts with a comic aside. It was caught on Super-8, because “you think everyone is dead on it,” she explains.
But what really makes the show is Weinachter’s wonderful easy-going, endearing personality and rapport with the audience. There are plenty of asides. There are quite a lot of laughs. There are moments that make you reflect. But best of all, when she speaks, it seems she is speaking to you.
Towards the end, she switches the black pants and top for a fringed silver jacket and hot pants, dancing seductively to Donna Summer’s ‘I Feel Love.’ She wants to make sure we remember. We do. In the best possible way.