'Prima Facie' Review: Jodie Comer Pleases the Court
The Latin phrase “prima facie” is a legal term that translates to “on the face of it.” In the one-woman show Prima Facie, Jodie Comer stars as Tess Ensler, a criminal barrister enlivened by the game of law. Comer—and her character—sure know how to make a striking first impression “on the face of it.” In the first scene, Tess gives the play-by-play of a court case’s closing arguments with the exhilaration of a champion horse race. She volleys back and forth as a race caller, describing the action in the witness box and the gallery. She even takes on the role of the judge with a coiled court wig.
Suzie Miller’s award-winning Prima Facie, which bowed in London’s West End earlier this year, follows Tess as she topples from the top of her game. When the exacting barrister finds herself in need of legal representation, she discovers jurisprudence is not quite so sacrosanct. She is the victim of a sexual assault—and the blurry lines of justice and morality turn her understanding of the law upside down.
Comer, famous for her award-winning performance in Killing Eve, is a dynamic tour de force. She seamlessly transitions between tens of characters with slight vocal inflections or by simply sinking into her hip. She’s a vessel for all emotions and deploys them with mastery, going from amusement to fear to helplessness. Under Justin Martin’s swift direction, Comer’s Broadway debut is energetic and thrilling.
Comer might be the only person on stage, but she’s hardly alone. The design helps drive the narrative. A neon tube light (lighting by Natasha Chivers) around the proscenium arch flashes to denote scene changes and flashbacks. Strobes pulsate to transport Tess and her fellow classmates to a club. In a powerful moment of storytelling, case file binders on floor-to-ceiling shelves light up one by one to represent the staggering number of sexual assault cases.
Sound is another driving force that hums and percolates and throbs to mirror Tess’ emotions. The production features original compositions by Rebecca Lucy Taylor and sound design by Ben and Max Ringham. Perhaps the most impressive design element is a downpour of rain that soaks Tess. It’s a beautiful representation of tears and cleansing and emotional overwhelm. (And it is a wonder that the first row doesn’t need ponchos!)
The design elements lift Comer’s performance—and she lifts them too. Literally. Comer is in constant motion, moving the long barrister desks topped with green banker’s lamps to switch scenes (set design by Miriam Buether). She dances on tabletops and slinks into a Chesterfield chair and holds court in the chambers. Comer’s onstage stamina is downright inspirational.
Miller’s play and Comer’s performance are a winning combination. It’s hardly a light night at the theatre, but this limited run is not to be missed.
