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A remarkable piece of theatre that leaves many questions about reality: but perhaps that is the point, because what is conversion therapy other than an attempt to defy someone’s truth? Summary
Rating
Unmissable!
Conversion therapy is, to put it politely, a tad controversial. Unsurprisingly, it’s often tied in with religion. What is it about those preaching tolerance, who seem to have a desire to ensure everyone meets their ideas of normal? Especially when we all know the church’s record on sexual deviation. But that’s a whole different story.
Talking of things I don’t quite understand brings me perfectly to Paper Mug Theatre‘s Con-version. I cannot decide if I simply failed to completely understand because I didn’t read the clues, or because that is just how writer Rory Thomas-Howes wants to leave you, in utter confusion. Whichever it is, the one certainty is that it will linger long in my thoughts not just because I want to make sense of it, but beyond that, because it is incredibly staged and thought-provoking theatre. From its opening scene as the cast harmonise beautifully, giving us a false sense of serenity, through to the closing moments as Mother once more lays the dining table whilst daughter sobs soundlessly beside her, the entire piece is engrossing, intriguing and incredibly staged. And did I mention confusing?
After that beautiful opening, things get off to an incredibly normal start. Mother (Ruth Redman) is fretting, excited that Son (Elan Butler) is coming home for the first time in a year. Father (Timothy Harker) is not helping much, whilst Sister (Molly Rolfe) is worried about something she cannot speak about. It all feels very ordinary. Except…
Except something is not right. Not right with the scene, not right with the people within it. And when Son’s return doesn’t begin too well between himself and Mother, it simply starts again. This time it’s perfect as Son now has Fiancée (Phoebe Ellabani) with him, who is remarkably similar to Mother; as if Mother had made her to fit her image of the perfect wife. And in this new perfect world, we simply cannot mention the house next door, and especially not Neighbour’s Boy (Alex Britt). Mother says it is empty, whilst Daughter tries to argue that is not true.
The writing is thought-provoking and intriguing, and just gets stranger from there. Lines jump out to make us question what we are witnessing: “your story is full of holes”, “it’s not true, none of it is”, “we do our best to give you the story you want”. The clues are all there that somehow what we are witnessing is just not real. But what then is it? When one scene becomes a sit-com, complete with audience prompts to laugh or applaud, our grip on reality loosens even further.
The staging is equal to the writing, both in quality and strangeness. The simple set of five tables are used to great effect, moved around fluidly, as the dining table is broken up to allow a larger space for the next scene. Lights flicker violently as scenes pause or restart, whilst the sound complements with its own tension and suddenness. And to round it off, performances are equal to the requirements. Butler’s Son and Redman’s Mother especially seem to relish the strangeness required in their roles.
Con-version leaves more questions than answers. Whose false memories are we witnessing? What is real or not? But maybe that is the whole point: maybe we are meant to be confused by reality, because isn’t that ultimately what conversion therapy does? It aims to convince you that what you believe to be normal (your sexuality) is anything but that; to give you an alternative reality that surely can never exist side by side with what you really are? What is clear is that this is a stunning piece of theatre that I will be thinking about for a long time to come.
Written by: Rory Thomas-Howes
Directed by: Sam Edmunds
Set and Costume Design by: Lulu Tam
Sound Design by: Matteo Depares
Lighting Design by: Ben Garcia
Stage Manager: Roshan Conn
Movement Direction by: Tilda O’Grady
Produced by: Rory Thomas-Howes for Paper Mug Theatre
Con-version plays as part of VAULT Festival 2023 until 19 March. Further information and bookings can be found here.
