As one of many innumerable survivors of sexual assault subsisting in a tradition that churns out narratives concerning the singular—but all too frequent—trauma incurred from such, it’s sadly uncommon that any actually resonate. Prima Facie, the Olivier-decorated, Tony-nominated, play from Suzie Miller, is an exception.
The protagonist, Jodie Comer’s Tessa Ensler—an formidable legal professional from working-class origins—serves as an avatar for numerous, typically faceless, survivors of sexual assault as she reckons not simply with being raped by a colleague, however the inherent flaws of the legal justice system as she does what so few can: testify in opposition to her perpetrator.
Comer, who’s on stage for almost the whole thing of the 100-minute piece, rearranges the set, seamlessly completes wardrobe modifications, and emotes in methods which can be seared onto my mind from right here to eternity. Frankly, I don’t care what anybody says about Jessica Chastain in A Doll’s Home, the Tony belongs to Comer.
For these unable to see it, Miller’s play is out there in paperback type. (And should you’re visiting NYC anytime quickly, Prima Facie runs by way of July 2 and is clearly properly well worth the excessive ticket value.) Whether or not you symbolize the 1 in 3 statistic that serves as the idea for Prima Facie or love somebody who does, I can’t suggest partaking with this story sufficient. —Audra Heinrichs
