Confirmation is an intellectual performance about a leftist meeting an English nationalist.
Written and performed by Chris Thorpe
Developed with and directed by Rachel Chavkin
Performed at Lincoln Performing Arts Centre (LPAC)
Confirmation is about gulfs we cannot talk across and the way we choose to see only the evidence that proves that we’re right.
This show is an attempt to have an honourable dialogue with political extremism by exploring the phenomenon of confirmation bias.
Confirmation is the new solo show from a multi Fringe First winning team, written and performed by Chris Thorpe.
The show contained a mixture of humour and serious tones and was an extremely powerful performance.
Through the intense dialogue and frequent audience participation, in which they were directly part of the show, it allowed the show to really make an impact on the audience.
Murmurs could be heard throughout the production from people agreeing with what Chris was saying during his meeting with the English nationalist.
By having audience members reading out questions in which Chris asked the English nationalist, Glen, and answering them with the answers he received, it was almost impossible to sympathise with what he was saying.
This concept of sympathising was something that Chris brought up throughout the production and it was certainly true as the show progressed.
In the current political climate, with the increase in right wing supports, the show gave a more sympathising look into the ideologies of a right wing supporter.
For anyone who doesn’t know, confirmation bias is an inherent tendency in people to favour and over-emphasise information that confirms their own beliefs, ignoring elements in any material, experience or situation that doesn’t confirm the views they already hold.
The powerful performance was clearly full of research and it was obvious that Chris had researched the topic in depth.
With limited set designs including two chairs, pieces of paper that spelt out ‘Everybody Thinks They’re Right’ and a microphone, Chris utilised the stage to its full advantage.
Rather than sitting in the auditorium of the LPAC, there was a set of seats in a Round-shape on the stage and there were only a few empty seats.
The creative use of the space added to the suspense of the production and it worked surprisingly well.
One could say that it might not be a production that an extreme English nationalist would enjoy but nevertheless the humour elements added a more of a light hearted feel to a show with serious undertones.