Penetration

Lloyd-Davis Carolyn

Description

Coercion. Consent. ConfusionBased on true events, the play follows the stories of Anna, a rape complainant, and Sean, the defendant, with insight and sensitivity.This heart-breaking, multi-layered play jolts the audience into exploring the implications of consent, focussing on the impact of toxic coercive relationships, the power of social media and the need for healthy sexual boundaries, especially when alcohol or drugs blur the lines.The play deliberately takes no specific moral or legal standpoint, forcing you to question long-held beliefs and inherent prejudice. A socially provocative play, which is of particular significance in the light of recent shocking reports about the low incidence of convictions for rape and sexual assault in the UK.

Sujets

• Philosophie et théologie

Informations

• Publié par: Distributed By PublishDrive
• Date de parution: 24 octobre 2021
• Nombre de lectures: 0
• EAN13: 9781912430642
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Carolyn Lloyd-Davies
Carolyn trained as an actor at the Academy of Live and Recorded Arts (ALRA) in London, and her first professional full-length play Silent on the Matter was performed at the Old Fire Station, Oxford, in 2015. Since then, she has written three full-length plays, two audio comedies, and was commissioned to write two short screenplays.
She was a Trustee of ALRA for seven years and is now on the Development Committee of Pegasus Theatre, Oxford, a thriving Performance Arts Centre for young people.



First published in the UK in 2021 by Aurora Metro Publications Ltd.
67 Grove Avenue, Twickenham, TW1 4HX
www.aurorametro.com [e-mail]
T:@aurorametro FB: /AuroraMetroBooks
Penetration © Carolyn Lloyd-Davies, 2021
Cover images copyright Stephanie Connell © 2021
Cover design copyright Aurora Metro Books © 2021
Editing & Production: Cheryl Robson
With many thanks to: Marina Tuffier, Saranki Sriranganathan.
All rights are strictly reserved.
For rights enquiries including performing rights, please contact the publisher: [e-mail]
No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior permission of the publisher. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.
This paperback is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.
Printed in the UK by 4 Edge Ltd on sustainably resourced paper.
ISBNs:
978-1-912430-63-5 (print)
978-1- 912430-64-2 (ebook)

PENETRATION

By
C arolyn Lloyd-Davies





The Cockpit is a fringe theatre in Marylebone, London, completed in 1970 as a community theatre, and notable as London’s first purpose-built theatre in the round since the Great Fire of London.
Dysfunctional times need fully-functioning theatre with things to say. A theatre for London of disruptive panache, critique and useful, progressive ideas for the future. That’s why The Cockpit continues to develop a programming strand called Theatre of Ideas. It’s a collaborative programme designed to nurture debate and risky new work. The aim is to reinvent the London fringe tradition of home-grown provocative theatre. This is motivated theatre, driven by a necessary urge to create, with eclectic style and socio-political edge, and encouraging ensemble style working among theatre-makers with things to say.
www.thecockpit.org.uk

PENETRATION
Carolyn Lloyd-Davies
CHARACTERS
Anna McIntyre , early 20’s, third year medical student
Sean Jackson , early 20’s, fourth year medical student
Felicity Jackson , 50’s , mother of Sean.
Vivienne Okeke , 40’s, local rape support counsellor
Suzy Persad , duty solicitor
Dr James Tang, 30’s, top private school education, Specialist Registrar.
DC Jane Novak , 30’s.
DS Barry Lee , 40’s.
Notes: / indicates interrupted speech.
... indicates speech trailing off.
The play is inspired by seven true stories of accusations and aquittals from 2014-2019 but the story-line and characters are fictitious.
2017. PROLOGUE
JAMES Say something.( Silence.) You ok with it?
ANNA Dunno…
JAMES C’mon...
ANNA Bit shocked.
JAMES I had to tell you. ( Silence.) I didn’t want you to find /out from…
ANNA /Right.
JAMES All ok then, yeah?
ANNA Not really, no.
JAMES You’d prefer I didn’t tell you?
ANNA I’d prefer you hadn’t done it.
JAMES Fine. I’ll know next time.
ANNA ??
JAMES To keep it secret.
ANNA Don’t be like that – you can’t be surprised I’m shocked. I thought you loved me.
JAMES That’s why I told you.
ANNA Do you care about her?
JAMES No.
ANNA Why then?
JAMES Just a hook up – it happened. That’s all.
ANNA Hook ups don’t just happen. You set out to have sex.
JAMES C’mon, it doesn’t mean anything. Just a fuck.
ANNA I feel...
JAMES Look, if you’re upset, it won’t happen again. I’ll try. I can’t promise but I’ll try.
ANNA Aren’t I enough?
JAMES ( Turning to her and holding her hands ) Doesn’t change a thing. It’s just sex.
ANNA Really?
JAMES I’m not going to fall in love, if that’s what you’re /scared of.
ANNA /I couldn’t bear it without you.
JAMES Or me you. No question. All I’m saying is...maybe... the occasional hook up adds a bit of ....
ANNA What?
JAMES Y’know, excitement, something different...( Anna demurs) For both of us. Not just me.
ANNA It doesn’t seem...
JAMES Just putting it out there.
ANNA I’ll think about it.
JAMES No guy you fancy?
ANNA ( Smiling ) Maybe.
Switch to Anna and Sean (Sean sitting in front row of audience). He’s drinking beer from the bottle.
SEAN Want some?
ANNA Ok.
SEAN I’m sure we’ve met before.
ANNA Is that the best you can do?
SEAN No, really. I’ve seen you around. I noticed you. I’m Sean.
ANNA I know. ( Handing back the bottle ) We were both at Gemma’s party – a while back.
SEAN Remind me – which year are you?
ANNA Third year. You?
SEAN Fourth.
ANNA Is it true, it gets easier?
SEAN Define easier. It’s true we’re let loose on patients now.
ANNA Wow! Am I impressed? Live human bodies!
SEAN Makes a change from cadavers. Where are you from?
ANNA Basingstoke. But my parents moved to Spain. Sun and sangria. Beats Basingstoke!
SEAN Where are you living now?
ANNA At Gemma’s. You must come over sometime.
SEAN Yeah. I’d like that. ( Passes back the bottle )
Lights fade back up on James and Anna.
JAMES Hey! It’s only an idea. Think about it. You might enjoy it – I’d have to up my game. ( Silence.) Why don’t we try it for –what? A month? See if it works. If not, nothing lost. It’s only sex.
ANNA What if I don’t like it?
JAMES Then we stop.
ANNA So just temporary – see if it works.
JAMES Let’s agree rules. Boundaries.
ANNA Because –?
JAMES This only works if we’re honest with each other, yeah? First rule: we always tell each other. No recriminations, no judging.
ANNA Ok.
JAMES Second: No medical students. It’d be awkward if they had to work under me.
ANNA How would you know? Maybe I wouldn’t tell you.
JAMES I refer the honourable lady to rule number one. Third: one off ‘hook ups’ only. For both of us.
ANNA Maybe. But what if we get jealous?
JAMES It’s only ever a one-off. Just sex.
ANNA Ok, but I’ve a new rule. No full sex with anyone else.
JAMES Not even with a condom?
ANNA No. Otherwise I’m not doing it.
JAMES Not sure how that would work.
ANNA It’s what makes our sex special.
JAMES Ok, four rules, no secrets, no lies.
Blackout.
Act 1 Scene 1
All cast are on stage ‘party dancing’, playing with balloons, drinking. Joyful energy, choreographed moves. We see the affectionate and close maternal relationship between Felicity and Sean – it’s his birthday party. Everyone is dancing with everyone. Felicity silently moves off-stage. Gradually, we realise Anna is dancing slowly and enticingly towards Sean. They enjoy a moment, then she leads him off-stage.
Blackout.
Act 1 Scene 2
Rape Survivors’ Support Room
Stage right: A space that is welcoming but no frills. Some plants, soft neutral décor, a low slightly battered coffee table around which are three comfortable but old chairs. Stage left: kitchen table, two chairs. A young man sits silently, facing away from the audience, with a mug of tea.
VIVIENNE Take your time. ( Silence.) Can I get you a coffee?
ANNA ( Shakes her head ) I gotta get back soon. ( Pause ) Um… I’m not even sure why I’m here…
VIVIENNE Something happened?
ANNA Sort of...
VIVIENNE Tell me about it. ( Silence) I’m here to listen, to help you talk through what happened, how it makes you feel...
ANNA I don’t feel like what happened was… was exactly… rape, or… or… that I’m a rape victim.
VIVIENNE Because?
ANNA ( Pause ) I dunno.
VIVIENNE I’m not here to judge, impose any views...
ANNA It wasn’t like that.
VIVIENNE Like what?
ANNA You know, a violent assault. Rape.
VIVIENNE What actually happened?
Silence.
VIVIENNE I know it’s difficult.
ANNA We were both a bit drunk, well… drunk the night before… not so much at the time… it was about six or seven Sunday morning. I wasn’t exactly with it and found him –
Silence while Anna fiddles with a tissue.
VIVIENNE You found him…?
ANNA ( Beat ) Moving into me.
VIVIENNE How did you react?
ANNA ( Beat ) I didn’t want to. ( Beat ) But – I’m sorry – I’m wasting your time. I’m fine.
VIVIENNE Anna, I’m here to support you in whatever way you need.
ANNA I know but...
VIVIENNE I’m not here to pressure you into make any statements or decisions. Just talk.
ANNA ( Pause ) Yesterday morning I was ok with it. Sean’s a nice guy. He made us a cup of tea.
VIVIENNE Most rapists are nice guys, known and trusted by their victims.
ANNA I’m not a victim!
Vivienne looks at her steadily and kindly.
VIVIENNE Is ‘survivor’ a better word?
ANNA No! I’m not a survivor or a victim… I don’t know!
VIVIENNE Did you talk to him afterwards?
ANNA Sort of, it was all very re