Frankie Meredith’s script has a solid, viable core, but the short, episodic scenes spanning a long time period make for a skeletal whole that feels like the first act of a longer play.
Rape is such a serious social issue that it’s hardly surprising that several recent plays have tackled it. I’m thinking of Gary Owen’s Violence and Son, James Fritz’s Four Minutes Twelve Seconds and Evan Placey’s Consensual. All of these discuss, whether implicitly or explicitly, the notion of consent, which is the name of playwright and director Nina Raine’s latest drama about the subject.
The National Theatre has announced programme details for its new season running from April to November 2017. In addition to the two inbound political plays heading for the West End – the European premiere of Broadway hit Oslo and the staged reading All the President’s Men? – Scenes from the U.S. Senate’s Confirmation Hearings, reported here – highlights include: Jane Eyre returns, following an acclaimed …
When a topic is painfully current and theatre plunges in, the heart does not always sing with optimism. But Nina Raine is an old hand, and knows how to make a play work without a virtuous political clunking. Acid-sharp, observant and pitiless this one is as much about normally ghastly marital behaviour as about the drunken-rape case and trial which flashes, with fierce drama, through its core.
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