After Party doesn’t seem quite sure what it is trying to achieve. The first act uses the trope of the family reunion to establish characters and themes: dysfunctional relations, generational conflict, assisted dying. There are some cheeky swipes at influencer culture, bickering, banter and, since the grandmother and grandfather are both actors, plenty of reciting from Shakespeare. The second act is more sombre, as reconciliations happen and a death occurs. It’s possible the script intended to explore the issue of assisted dying but the lack of depth in the discussions prevents this from being much more than a facsimile of a melodramatic deathbed scene.

The direction is determinedly functional. When it tries to break the measured pace, such as the awkward moment where a famous singer bursts into her hit, it feels forced. It neither rises to the emotional force of melodrama, despite caricatured characterisation and plenty of self-consciously old-fashioned acting from the grandparents, nor convinces as an issue play. The heavy use of Shakespeare is a bold move but only emphasises the situation’s artificiality and the family relationships. Its sentimentality and bland theatricality undermine any emotional potential.

After Party, Traverse Theatre, until 30 August, times vary; picture: Marc Brenner.

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