CONVERSATIONS AFTER SEX

Park Theatre

★★★

“a play that focuses more on glimpses of intimacy and character variety rather than any tangible plot with a clear ending”

Desire, grief, family, sexually transmitted diseases and much more can be found in this production of Conversations After Sex. Written by Mark O’Halloran, this show unveils how we connect in our modern times and how we deal with whatever life throws at us. Because sometimes distracting ourselves with different physical experiences, like having sex or taking substances, is the only way to stay afloat and not sink.

That’s what our unnamed female character seems to be navigating, as she goes through sexual partners of various temperaments, interests and ages and as she spends wild night after wild night. After they’ve had sex, they discuss about previous or current relationships, life or whatever else comes up once the emotional walls she normally has built up have been lowered, even briefly. More and more is revealed about her till we get a better picture and understanding of her life. Her older sister also joins for a few scenes, giving a bit more of a perspective than what the protagonist would have liked to share.

The pace is steady throughout, not really altering or fluctuating throughout the play. The two main actors find moments of emotional vulnerability and are really present with one another, but don’t really go the extra mile to help the audience engage more. Julian Moore-Cook jumps in and out of all the male characters’ accents and physicalities smoothly and swiftly, which fits with the protagonist’s nonchalant performance. Olivia Lindsay as the female protagonist plays with no exaggerated passion or turmoil, which is intriguing and grounding, but does leave the audience with a sense of hanging, like there were things left unsaid and unfinished. Jo Herbert’s appearance as the sister is brief, yet sobering for us and the protagonist, a voice or reason and a reminder that everyone goes through different struggles.

Under the direction of Jess Edwards, it’s a play that focuses more on glimpses of intimacy and character variety rather than any tangible plot with a clear ending. The main focus is definitely the balance, and imbalance, of the protagonist with her respective sexual partners, but during a heartbreaking moment when her deceased ex visits her while she’s macrodosing, we’re left wondering if this is more about how the human soul breaks apart and the challenges of recovering.

The set (Georgia Wilmot) is simple, efficient and practical. In the middle, a queen-sized bed, all in pastel pink, and in the background, a big wall of neon light that assists with the transitions and dominates the mood of each interaction. Transitions are cleverly choreographed and exciting to watch, with the light changes and music intervals (Bethany Gupwell and Xana respectively), which offer a helpful intro and outro for the many characters we encounter.

In a world where disconnection is more and more prominent, Conversations After Sex has the potential to shine light onto the people hiding behind dating apps, substances and loneliness. The delivery does get stagnant and unspecific, but is entertaining nonetheless.

CONVERSATIONS AFTER SEX

★★★

Park Theatre

CONVERSATIONS AFTER SEX

Park Theatre

★★★

“a play that focuses more on glimpses of intimacy and character variety rather than any tangible plot with a clear ending”