Content Warning: strong themes of sexual assault and violence
Prior to watching Prima Facie, I had not looked at more than a general synopsis and the cinema booking description, so whilst I was vaguely aware of the themes, I was completely unprepared for the next two hours.
Prima Facie immediately captures your attention as Comer brings the cocky barrister Tessa to life. She revels in her most recent victory - as demonstrated through a gleeful and vigorous dance around and on top of the tables on stage - but also shows her unwavering faith in her skill and the legal system. Tessa then tells the tale of her Liverpool childhood, revealing the determination that she needed to graduate through law school and reach the top of her field and the resulting respect that she gained for law.
But after she is assaulted by a colleague, Tessa’s world flips upside down as she realises how daunting her case is by cross-examining herself. Comer does an excellent job of drilling that sense of mounting and breathless horror as Tessa’s identity of the unflappable, hotshot lawyer unravels. We are then run through a narrative detailing all the discomforting processes and stark mechanics behind processing a sexual assault case, before - spoiler! - Tessa’s loss. Comer then addresses the audience in a moving monologue about why a purely logical justice system is ultimately flawed.
Comer does an excellent job of drilling that sense of mounting and breathless horror as Tessa’s identity of the unflappable, hotshot lawyer unravels
The production itself is also great. Rebecca Lucy Taylor (who goes by Self Esteem) provides tense beats and intense lyrics to match the downpour and lighting courtesy of Justin Martin. The set is also wonderfully created by Miriam Buether, transforming from Tessa’s kingdom to a room where she feels enclosed and trapped by her former comfort zone. It also allows for Comer to move herself and the items on stage around to help create Tessa’s settings like her chambers, her flat and the courtroom, and it not only makes those scenes more believable, it also means that her character is dynamic and riveting.
Playwright Suzie Miller sets up a brilliant parallel between the formerly composed Tessa and the woman now at the stand. Personally, the last part is about when the script starts to falter. Although Comer successfully illustrates Tessa’s story throughout the entire show, the writing itself takes on a lecturing tone, dropping most of the act to give an ending that just seems a bit flat. Because the rest of the plot was so captivating, I was perhaps expecting a more emotional conclusion.
Despite this, there is absolutely no doubt that Miller conveys a crucial and urgent message. Whilst the writing is slightly awkward at times, this issue remains one to be projected in the spotlight. Prima Facie is loud, powerful, and heartbreakingly true for many that the system simply fails. There is much to learn and take away from this play, and with how brilliant Comer’s performance is, it is a production you absolutely should not miss.