★★★

“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.

GHOSTS

Lyric Hammersmith

★★★★★

“A breathtaking new adaptation that should not be missed”

As Gary Owen mentions, adapting a classic play is a challenging process. Numerous things need to be considered, the time the play was originally written, the audience the specific production is destined for, to change or not to change significant plot points and if you do, how far can you take it. A classic play, like Henrik Ibsen’s Ghosts originally written in 1881, has survived through time for a reason and some adapters are hesitant to tamper with that. This production, adapted by Owen and skilfully directed by Rachel O’Riordan, is the perfect example that sometimes, when you do decide to make bold changes, it can have the best result imaginable.

Helena decides to use her and her late husband’s money to build a new children’s hospital, which is about to open. But when certain accusations come out regarding his behaviour, rumours start to spread and the trustees feel the need to separate themselves from him. And when Helena’s son, Oz, visits the family home and gets involved with his childhood friend Reggie, dark secrets that have been kept hidden creep out and Helena needs to face the true legacy her late husband has left her.

The whole cast do much more than pull their weight. Their commitment, vast emotional range and easiness in finding the essence of each role elevate the story. In Helena, Victoria Smurfit, we see a survivor, a strong but also broken woman who tries to protect her son from the truth at all costs. The facade of the goddess, always in control and untouchable, gives way to trauma and pain, in a most natural and heartbroken manner. Patricia Allison (Reggie), Rhashan Stone (Andersen) and Deka Walmsley (Jacob) help develop the concept of duality throughout the show, showing that the truth always has two versions and that being rich and poor is essentially two sides of the same coin. Callum Scott Howells as the tortured and lost son Oz is the highlight of the evening. His complicated relationship with his parents has created a sweet self consciousness, a need to be accepted and loved exactly as he is. He is aware that something is rotten in this family and holds on to it tight. That is the only way he knows how to exist: in the shadow of what came before him, because that’s often easier than forging a path of one’s own.

Ghosts is a marvellous continuation in Owen and O’Riordan’s already existing series of collaborations. The text takes us on a rollercoaster ride with its wit, depth, twists and play between absolute horror and tender sympathy. Under a direction that focuses on raw action and reaction in a powerful and modern context, a lot of the original play’s traits change. But the theme of the past and the trouble of the young when carrying the burden of what came before them is still there, resonating in a time when history seems to be dangerously close to repeating itself.

Commendation needs to be given to the set design (Merle Hensel). A borderline claustrophobic and unnaturally simple living room with pictures of a man’s back of the head from different angles plastered all over the walls give us the sense that this isn’t a home and never has been. The man on the black and white pictures could be the deceased father himself, out of Helena and Oz’s life, but still very much a presence that impacts them. Sound design and music (Donato Wharton and Simon Slater) are sharp, uncomfortable, perfectly complementing the darkness and shocking revelations the characters are faced with.

A breathtaking new adaptation that should not be missed, Ghosts demonstrates how classics can work spectacularly for different times and ages without any compromise.

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”

CONVERSATIONS AFTER SEX

Park Theatre

Reviewed on 2nd May 2025

by Stephanie Christodoulidou

Photography by Jake Bush

Previously reviewed at this venue:

CONVERSATIONS AFTER SEX

CONVERSATIONS AFTER SEX

CONVERSATIONS AFTER SEX

GHOSTS

Lyric Hammersmith

★★★★★

“A breathtaking new adaptation that should not be missed”

GHOSTS

Lyric Hammersmith

Reviewed on 16th April 2025

by Stephanie Christodoulidou

Photography by Helen Murray

Previously reviewed at this venue:

GHOSTS

GHOSTS

GHOSTS

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