Tessa is a thoroughbred. A young, brilliant barrister who loves to win. She has worked her way up from working-class origins to be at the top of her game; defending; cross-examining and lighting up the shadows of doubt in any case. An unexpected event forces her to confront the lines where the patriarchal power of the law, burden of proof and morals diverge. Suzie Miller’s award-winning Prima Facie takes us to the heart of where emotion and experience collide with the rules of the game. Justin Martin directs this solo actor tour de force from Jodie Comer.
I leave it to the jury of theatergoers to determine whether the larger legal argument that Miller makes in Prima Facie follows necessarily from Tessa’s specific experience. But about Comer’s performance there can be no doubt: This is a powerful and moving star turn. It has a very different energy from the Broadway season’s other great dramatic performance by a woman. Whereas Jessica Chastain spends A Doll’s House nearly immobile, Comer is a whirlwind: moving furniture, changing costumes, standing on tables, switching into the voices and accents of more than a dozen minor characters as Tessa narrates her story. Her virtuosity is not just a game—it’s emotional. Miller builds a respectable case, but Comer argues it brilliantly.
It’s a compelling argument, and Comer, under Justin Martin’s vigorous but sensitive direction, makes it soar and sting. Best known for her witty, searing portrayal of a sociopathic Russian assassin on the television series “Killing Eve,” the actress captures both Tessa’s manic energy—which dominates the first half of the play, as the character documents her whirlwind rise from a working-class upbringing to law school at Cambridge and a bright career, with a breakneck pace that she clearly relishes—and the vulnerability and self-doubt that consume her after the incident.
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Information: Tickets are subject to availability.
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