Una and Ray remember the same event entirely differently. Una recalls coercion and pain; Ray recalls a consensual "romance." Harrower never gives us a flashback. We are trapped in their conflicting testimonies. The script forces readers to question: Can a 12-year-old consent? Even if she believed she loved him?
Una
Ray
Though there are only two speaking parts, the play includes a silent third character: a young man (the "boy") whom Una initially mistakes for Ray, and finally, off-stage voices of other employees. This represents society’s voyeurism. Harrower asks: Where do these two people belong once the story ends? Is there a place for a pedophile after prison? Is there a life for the victim who cannot let go?
Una and Ray remember the same event entirely differently. Una recalls coercion and pain; Ray recalls a consensual "romance." Harrower never gives us a flashback. We are trapped in their conflicting testimonies. The script forces readers to question: Can a 12-year-old consent? Even if she believed she loved him?
Una
Ray
Though there are only two speaking parts, the play includes a silent third character: a young man (the "boy") whom Una initially mistakes for Ray, and finally, off-stage voices of other employees. This represents society’s voyeurism. Harrower asks: Where do these two people belong once the story ends? Is there a place for a pedophile after prison? Is there a life for the victim who cannot let go? blackbird play david harrower pdf