Review: PRIMA FACIE - Birmingham Repertory Theatre (12/03/26)

Comer delivers heart-stopping performance of Suzie Miller's groundbreaking one-woman legal drama

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Irony and the idea of legal and moral intersectionality are both terribly cruel mistresses, often playing into the notion that things are never simply black and white when it comes to directly comparing what is morally right, and what is structurally and observably correct. Defence barrister Tessa Ensler has spent much of her legal career in defence of men who find themselves accused of sexual assault, brilliantly showcasing her abilities as a lawyer to bend and manipulate the law in order to get her clients acquitted of wrongdoing. This idealised view of, and unwavering belief in, the legal system is pulled into serious question when Ensler herself falls victim to a sexual assault by one of her colleagues, quickly coming to the harsh realisation that navigating said system as an accuser involves a considerable degree of demoralisation and waiting for something to happen.

Playwright Suzie Miller has jam packed her script with plenty of insider expertise, with all the corresponding legal jargon to go with it, her prior experience as a legal professional on full display during this one-act judicial thrill ride that both seems to glorify the vocation, and highlight its serious flaws and shortcomings. It is the latter of these where much of our focus lies as, once one of its most trailblazing exponents, our protagonist experiences a major a moral epiphany, and gradually the stony, unyielding and emotionless facade fades away, to reveal the gangrenous, morally bankrupt open wound of the entire profession.

Jodie Comer in "Prima Facie" (credit: Helen Murray)

There is so much of how director Justin Martin has set things up that will draw an abundance of ooh's and aah's, from the lawyer-shaped neon light that adorns centre stage as you enter the auditorium, to the surplus of legal files that encircle the entire stage, Miriam Buether in particular proving immensely praiseworthy for her sleek, simple yet effective set design, as well as Natasha Chivers' looming, emotionally expressive lighting, enhancing the storytelling expertly. Every element assembled by Martin is measured, purposeful, and works in perfect harmony with the central solo performance for a slick, seamless production.

Though there is no shortage of expert narrative balance in Miller's hard hitting text, and directorial proficiency and profundity to boot, the name on most people's lips upon exiting this thrilling, agonisingly relevant piece of theatre will be that of Liverpool actress Jodie Comer. The Tony and Olivier winner takes this physically and emotionally intense story by the scruff of the neck, and proceeds to hook us, reel us in, and hold us there for the entire 90 minutes, whilst she presents to us every ounce and inch of her extraordinary acting range.

Jodie Comer in "Prima Facie" (credit: Helen Murray)

From her initial monologue, confident, dynamic, and dripping with charisma and giddy optimism, to the gradual shift in mood to the more vulnerable, downtrodden, and justifiably frustrated figure who has seen, with her own eyes, the real, adverse impact on victims and survivors that rears its ugly head time and again. Comer does not let up for even a millisecond, giving a simply astounding performance of dynamism, agony, and emotional complexity, that has hearts in mouths and jaws on the floor all around the auditorium, cementing her status as a true generational talent.

"Prima Facie" must be seen to be believed, and believe the hype on this one, as I feel like it's no exaggeration to state that this is not only a once in a generation performance from Comer, but an overall production that will go down in the annals of theatre history as being truly life changing and world altering.

★★★★★ (5*)

"Prima Facie" runs for one more sold-out week at Liverpool Playhouse, concluding on the 21st of March (more info/returns)