A theatrical production inspired by the trial of Gisèle Pelicot, who was drugged and raped, is set to be staged in London for a single night this November, featuring a highly acclaimed cast.
The four-hour performance titled The Pelicot Trial: Tribute to Gisèle Pelicot has seen successful runs globally, including in New York City and Avignon, the French city where the trial occurred. This fall, it will be hosted at London County Hall, the venue known for Agatha Christie’s Witness for the Prosecution.
Nadia Fall, the artistic director and co-chief executive of the Young Vic theatre, expressed her profound emotional response to the original French version of the play. “Experiencing all four hours was overwhelming and deeply moving,” she remarked. “The essence of witnessing in such a long-form, testimonial style truly resonated with me.”
Fall anticipates a swift sell-out of tickets. “Given that it’s a one-night event, we can assemble some of the finest actors, many of whom are familiar faces from television,” she noted. The complete cast will be revealed prior to the ticket sales, which are expected to launch in the coming weeks.
The play is the brainchild of Milo Rau and Servane Décle. Rau, a Swiss director and playwright, is renowned for his adaptations of real court cases for the theater, including the trials of the Russian punk group Pussy Riot and Romanian dictator Nicolae Ceaușescu.
Gisèle Pelicot gained international attention after she chose to forgo her anonymity, ensuring a public trial for her former husband, Dominique Pelicot, who, over nearly a decade starting in 2011, drugged her and allowed numerous men from an online forum to assault her. In December 2024, her ex-husband was sentenced to 20 years in prison, and all 51 accused men were found guilty. Pelicot emphasized her desire for public awareness of her story, stating, “Shame must change sides.”
Rau noted, “We perform in each city just once. It’s more of a political statement than a traditional play.”
Décle described the experience as difficult to watch but engaging, stating, “We allow audience members to come and go, but very few do. Even Gisèle Pelicot attended a performance in New York and remarked, ‘The actress portrayed my experience better than I did during the trial.’”
Journalists who covered the trial provided Rau and Décle with extensive notes, which have been incorporated into the play’s narrative.
“Everyone was eager to share their insights with us,” Rau said. “It transformed into a trial of our society and its patriarchal structures. We have showcased this production in at least 15 countries, in various languages, some of which I barely understand, yet audiences still grasp the play’s meaning. Unfortunately, this experience is universal; it would be preferable for humanity if it were limited to just a French context.”
Fall remarked, “This is not a traditional theater piece with scenes and costumes; it is grounded in factual events that leave a profound impact.”
Décle observed that a significant portion of the audience has been female, expressing a desire for more men to attend. “It’s fascinating to explore the identities of these male perpetrators,” he noted.
Fall added, “Pelicot embodies resilience, courage, and a radical joy that is inspiring, especially for women. Her journey demonstrates defiance against patriarchy, which is empowering for us. This narrative transcends the specifics of her sexual assault experience.”
According to the writers, Pelicot agreed to the production to perpetuate the dialogue initiated by her trial. “We often say she opened the door, and we are committed to keeping it open,” Rau concluded.
