In 'Rapt,' conspiracy is not the sworn enemy, but the familiar who loses footing

A play titled "Rapt," presented in Bienne, Switzerland, delves into the complexities of conspiracy theories and the ambiguity surrounding the deaths of young climate activists. The production, penned by Lucie Boisdamour, initially appears to focus on digital identity theft but quickly pivots to a more profound exploration of a real-world event.

The play opens with a dramatic warning displayed on screens, announcing that due to an embargo in England concerning the Noah and Celeste Quilter case, playwright Lucy Kirkwood has adopted a pseudonym and presented a "paravent" piece. This theatrical device introduces "Ravissement," a dramatized account of the investigation into the climate activists found dead in their apartment in December 2021.

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in order to evoke this subject in a masked way

"Rapt" probes the very existence of the couple and questions the validity of the British authorities' embargo. It raises critical questions about whether Kirkwood is taking a risk by addressing the mysterious deaths, leaving the audience to ponder whether the activists' demise was a suicide or a murder. The narrative suggests that Noah, one of the activists, was actively denouncing the close alliance between "ecocidal oil trusts" and the government.

The play's core, according to the review, is not the initial "clever and well-executed" plot twist but rather the deeper themes it uncovers. It examines how familiar figures can lose their footing, hinting at the psychological and societal pressures that might lead individuals down paths of paranoia and distrust, particularly when confronting powerful industries and governmental actions.

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denounced the close alliance between ecocidal oil trusts and the government