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.
In a bravura stage debut (!), Comer plays Tessa, an intelligent young criminal defense barrister in London whose workload has somehow come to focus on sexual assault cases. She looks forward to cross-examination, if not so much returning home to her somewhat distant mother. Tessa is not a shark, but her mentality is sharp as one’s teeth. “There is no real truth, only legal truth,” she says, explaining the rational logistics of her work. The brilliance of Miller’s creation, brought exquisitely to life by Comer, is that Tessa does not seek to justify her career. She’s not bending over backwards to absolve herself, and her trust in the legal system is soberly convincing. And she is also the kind of woman we’d all like to befriend: successful, fun, level-headed, understanding.
The clipped, verse-like script buffets us with waves of vivid detail and quick cuts, mostly delivered at top speed by Comer. After twenty minutes of Tessa’s motor-mouthed triumphalism and lawyer-splaining one longs for strategic pauses to texture the tale, but perhaps fatigue is part of the tactic. We must tire of Tessa’s blustery assurance, so her reversal carries greater weight and complexity. Even so, Miller’s play seems padded at the top and overly preachy at the bottom, pressing home a case it has already won with metaphorical italics and boldface. Nevertheless, Comer’s astoundingly fluid, musical and passionate performance wins the day. She leaves nothing on the field.
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