Between baby-cradling duties, Edward casually shares the grim details of his latest case, defending an accused man on trial for rape. All four are well-heeled legal professionals. This is Max, the newborn son that London lawyer Edward (Stephen Campbell Moore) and his wife Kitty (Claudie Blakley) are proudly showing off to their friends Rachel (Sian Clifford) and Jake (Adam James). In a suble foreshadowing of some of the dramatic dilemmas ahead, Consent opens with a real baby onstage, one of six sharing the role. A witty discourse on weighty and newsworthy matters, Consent feels universal and finely crafted enough to make another transatlantic transfer viable. Though their themes are different, both dramas are closely concerned with the willful miscommunication and stealth power games that shape intimate relationships. Consent shares the same director, Roger Michell of Notting Hill fame, and uses a similarly elegant style of nimble scenes crisply divided by fragrant bursts of music. Raine earned international acclaim in 2012 with her prizewinning breakthrough play about deafness, Tribes.
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