Conversations After Sex | Park Theatre

Conversations After Sex, which is written by Mark O'Halloran and directed by Jess Edwards, is a bold play that uses sex as both a weapon and a shield to fend off larger underlying problems. The protagonist, an unnamed She, has a revolving door of sexual relationships, that slowly and surprisingly coax her into letting down her guard and letting her grief break through. The play becomes an interesting study of human connection, relationships and grief. 

She (Olivia Lindsay), having inherited the family home and a hefty sum of money, drifts through life, aimless and lost, made even more striking as she grapples with unresolved grief. Using sex as a coping mechanism, an escape from the pain of it all, the play sees She take on an unmentioned number of male partners (all played by Julian Moore-Cook) to fill the void. A recent traumatic event hangs over each of her sexual relations, driving her actions and subsequent consequences. Appearing infrequently but with purpose is F, She's older sister (Jo Herbert), who tries to breach the barrier and reconnect with her sister, whilst also venting her own frustrations with her marriage. 

The show's greatest strength and biggest weakness lies in the layout of the script. Presented as snapshots into each relationship rather than scenes, audiences are left thoroughly confused by the events of the play, taking a long while to understand the many different partners. Although Moore-Cook does a great job at differentiating between the many partners with different accents and approaches, the lack of a visual or drastic change between these scenes makes it harder to grasp the concept. The concept is creative and refreshing, yet the execution doesn't quite do it justice. The most obvious giveaway is the detailed backstory of each partner, yet without names or clear distinction, it takes audiences a few moments during each short scene to try and remember which partner is currently in focus. The decision to never disclose names speaks volumes to how lost She is, yet this does alienate audiences further. 

The play dedicates more time to detailing the many partner's own stories, as opposed to the protagonist's own, with a drip feed of information throughout. It's another creative decision that adds to the protagonist's grief and it slowly wrecks her, yet it can feel overshadowed at times by the stronger other stories. For instance, we learn about the struggles of a recent Brazilian immigrant, a complicated and ironic affair with one's fiance, a mother dying of cancer alongside other stories that at times feels like the most compelling parts of the show. However, in the lead up to the ending, the show shifts focus to She as her repressed grief and guilt pours out, culminating in a rather beautiful and well written breakdown. The force of her grief ripples over the audience, with a touching moment of introspection that will feels relatable. 

The performances are strong and the actors convey the array of complex emotions and relationships well. Lindsay is a constant fixture on stage, neatly handling each different relationship well. Lindsay's grief and charm meld well together, creating an intriguing character that makes the show so interesting. Herbert makes a lasting impact with her limited scenes in a more concise and clear anguish at being lost in her marriage and dealing with her husband's affair. Moore-Cook takes on a difficult role, playing several characters back to back with no context or visual assistance. Earnest in his approach to each role, Moore-Cook brings out a series of defining qualities and emotional issues throughout the piece. 

Georgia Wilmot's set is simple and practical, with the bed in the centre of the stage, and a light up wall behind it. Bethany Gupwell and Xana (lighting and Sound designer), make the most of the small set with glowing coloured light and heavy music to help with scene transitions. 

Conversations After Sex is an enjoyable play that dissects human connection in an intelligent, if deeply confusing, manner. It is currently playing at the Park Theatre until Saturday 17th May 2025.

★★★☆☆ (3*)

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Gifted tickets in return for an honest review | Photography by Jake Bush