First performed in 2005 and dealing with issues of pedophilia and adolescent sexuality, Scottish playwright David Harrower’s two-hander drama staunchly avoids sensationalism. Viewed in 2025 – a dozen years after it had its Australian premiere in a Sydney Theatre Company production directed by Cate Blanchett – one nevertheless wonders if the play would have made it through a dramaturgical process unchanged now.

It’s been 15 years since Ray, then in his forties, left a 12-year old Una “bleeding and in love” at a seaside B&B. He went out for cigarettes and never came back. 

Now in her late twenties, Una (Charlotte de Wit) has traced Ray (Phil McGrath) to an anonymous factory on the outskirts of a town several hours drive from her own. Here, having served a prison sentence for her rape, Ray – now known as Peter – has constructed a new and very much under-the-radar life for himself.

As knock-off time approaches, Una corners Ray in the rubbish-strewn canteen.

Blackbird. Photo © Ravyna Jassani

He is shocked. Is she here to exact revenge? She looks capable of violence. She certainly seems to take some...