It’s been a bumper week for rape. Harvey Weinstein was indicted. Tommy Robinson was jailed for filming the accused in a grooming gang trial outside Leeds Crown Court. The world’s most durable feminist Dr Germaine Greer told Hay Literary Festival that most rape cases were ‘just bad sex’ rather than serious crimes, and in Connecticut a man got his cock out in court to prove it didn’t match his accuser’s description.
Clare Foster, Lee Ingleby and Thusitha Jayasundera have joined Claudie Blakley, Stephen Campbell Moore, Heather Craney and Adam James in Nina Raine’s Consent at the Harold Pinter Theatre from18 May 2018.
The National Theatre production of Nina Raine’s Consent will transfer to the West End, following the 2017 critically acclaimed sell-out run at the Dorfman Theatre.
It’s black and white – no means no. That should be enough right? Except all too often, sadly it isn’t, and the many different ways in which this is true form the bedrock of Consent, Nina Raine’s new play for the National Theatre, co-produced with Out of Joint.
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.