In a detailed exploration of love, justice and the law, Consent raises a lot of questions for the audience to ponder – both curious and confusing ones.
One would think that such confusion would come from the technicalities of the play being one of a legal nature, but Raine’s research shines confidently throughout in the writing. Instead, in a production which explores the many relationships of the characters on stage, what starts as a straightforward tale expands into something far more complex and puzzling.
Thankfully, this doesn’t stop Raine from raising some interesting points in the dialogue of her characters. The History Boys’ Stephen Campbell Moore and The A Word‘s Lee Ingleby are amongst the cast who deliver powerful performances and showcase excellent character development. The atmosphere’s tense, and the individuals three-dimensional – often expressing contrasting opinions throughout, which is particularly interesting to see.
Mix the topic of the play and the characters with a classical score and limited set design, and things start to feel a little more intense. Yet such a tone and pace for a play which explores many ideas does lead to some points being lost. It’s upon re-reading the play text that you begin to see some of the foreshadowing and wider, underlying discussions.
An impressive cast and excellent dialogue feature in Consent, but as the plot develops, some of the production’s underlying points get lost along the way.