Consent - an intense and thought-provoking drama
The Loft Theatre's latest dramatic production - Consent. Photo by Michael Wheeldon.
Consent, Loft Theatre, Leamington Spa, until 13 May.
Review by Les Grafton
Tara Lacey has directed a timely revival of 2017’s 'Consent', written by Nina Raine. The play explores parallel themes of infidelity, sorrow and retribution alongside a devastating examination of our legal system and the definition of rape. The playwright cleverly intertwines these two narratives and in the final act these combine to deliver a strong, thought-provoking climax.
The show opens with an instrumental version Chris Isaak’s 'Wicked Games' over a projection of a woman wandering in the mist. The reason for its inclusion is revealed as it is reprised later. As the lights go up, we find ourselves in a comfortable middle-class home, where a couple with a young baby, have just moved in. Edward, played by Dave Crossfield, and his wife, Kitty, Ruth Herd, are entertaining Jake and Zara, played by Gareth Cooper and Leonie Frazier respectively. The latter’s marriage is shown as under stress, with the pair convincingly tetchy and accusatory. The scene later descends into a crass comparison of sex cases that three of them, who are barristers, have prosecuted or defended. The details are spoken in the first person, as if they were the perpetrators. They disparagingly compete over who can be the least convincing witness.
Julie-Ann Dean in court. Photo by Michael Wheeldon
In scene two, we meet Gayle, a rape victim, played with emotional intensity by Julie-Ann Dean. All three females give powerful, well-crafted performances. She is treated only as a witness not a victim, by her barrister, Tim, played by James McCabe, and whose sophistry frustrates her. She is exasperated by her dehumanising treatment in the client-lawyer relationship and the law’s inability to empathise with her situation. Legally, her past behaviour and sexual history are fair game for cross-examination whilst the previous convictions of the accused are allowed to be hidden. Jodie Comer’s 'Prime Facie', currently doing so well on Broadway, deals with similar themes and legal contradictions. Here, Tara Lacey’s production is framed in the current context of the fact that so few rape prosecutions lead to a conviction, if they get to court at all.
A third couple of protagonists are introduced. We are back in Ed and Kitty’s home where it is revealed they are friends with defence barrister, Tim. The couple are trying to match make and the ensuing web of associations, new and existing, drive the narrative for the rest of the play. Zara, given a fizzing energy by Esther Rigg, makes up the last couple when finally getting together with Tim. She is an actress and is auditioning for a role in 'Medea'. Greek scholars might see the connection to 'The Oresteia' on hearing Kitty’s views concerning honesty and revenge.
Later, Zara is researching for a TV role as a barrister and Tim and Ed flirtatiously jostle for her attention. The barristers deftly and shockingly demonstrate the verbal tricks used in court to undermine witness/victims‘ accounts of rape or enable the accused to cast doubt on their veracity. At the end of the first act Gayle makes a spirited return. She invades the comfortable domesticity of the lawyers and Julie-Ann Dean again shows emotional depth in her bewilderment at her treatment from the court system.
Consent at The Loft. Photo by Michael Wheeldon.
As the play moves into the second act, the unravelling of the relationships and the tragedy of Gayle’s case are revealed. Despite having only one scene actually set in court, the play rightly examines our adversarial legal system through a #MeToo lens. On several occasions the director and cast deftly handle split scenes with overlapping dialogues, where we see and hear different accounts and opinions on consent. This play explores the difference between justice and vengeance in the marital home with cutting wit set against the vicious interplay of warring partners.
This will be a gruelling run for the cast if they maintain this intensity demonstrated on opening night. Gareth Cooper’s Jake convinces as a man with deep and bitter resentments. The gaslighting of Kitty as she suspects Ed of infidelity is cruelly evoked. Her need for Ed to demonstrate true regret and sorrow are also given harrowing truth. I am sure this fine cast will be able to lead the audience through these strong themes and leave them with much to ponder as a consequence.
The play deals with adult themes and contains very strong language.
Further details and tickets: https://lofttheatrecompany.com/
