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It’s a point Raine makes brilliantly, with humor, as the lawyers’ mordant jokes about their clients cut very close to the bone. Their actions and assessments differ accordingly.

Edward’s cool logic deserts him as the play goes on. In one confrontation, she gives Kitty a toothache, just to complicate proceedings. Really, underneath, it’s a play about relativism, and Raine shows how our moral judgements shift according to our situations, as feelings intrude and alter the facts. They accuse, they confuse, they answer themselves. In court, meanwhile, questions aren’t just questions. Text messages betray infidelities and off-hand comments leave lasting wounds. The same’s true of the law: rewrite it and you reorder the world. Just as a declaration of consent alters a sexual encounter, so Raine’s characters talk one another into bed, even into love and forgiveness. It’s why the play throbs with performative language: Words don’t just describe the world, they affect it. Everyone is, at all times, an interested party. Throughout, Raine maps the legal process onto everyday - the laws of love, as it were - so that couples enter disputes, while friends advocate and adjudicate. And yet, everyone’s judging everyone else. Everything’s going on behind somebody’s back. The whole thing pings with questions of consent - not just sexual but personal: set-ups, sacrifices and unforeseen consequences.

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“Consent” is a watchmaker’s play, full of tiny moving parts.

After a fraught argument, she accuses him of rape. Fraying under the pressures of motherhood, never having forgiven Edward over a previous indiscretion, Kitty winds up in an affair of her own. Having counseled their best friends Jake and Rachel (Adam James, the most affable adulterer, and stern and sympathetic Priyanga Burford), also lawyers, through their own rocky patch, Edward and Kitty find themselves in a similar situation. When they try to set him up with an actress friend Zara (Daisy Haggard), who’s up for a big legal drama herself, their own marriage comes under strain. Its main thrust concerns the private lives of the lawyers involved: barrister Edward ( Ben Chaplin), acting for the defense, and his wife Kitty (Anna Maxwell Martin) are friends with the case’s crown prosecutor Tim (Pip Carter). Those ideas linger in the air as “Consent” moves elsewhere. It’s two separate and irreconcilable truths. This isn’t just one word against another. The victim’s adamant she didn’t consent the accused is convinced she did. As well as picking at the injustices of the legal process (the victim’s history of depression works against her, but the accused’s previous conviction gets excluded), Raine raises the impossible notion of a rape without a rapist.

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