Prima Facie
On the 14th November 2024, the collective Skinners' and TWGGs sixth forms went to watch a live recording of Prima Facie, a shockingly powerful one-woman play about the injustice of the legal system and how it affects one particular defence barrister when she one day becomes the victim. The play is features brilliant design features, a moving script, and most notably, an acting masterclass - the actress Jodie Comer creates a whole world with her monologue for the audience with ease. The plot follows a young woman, Tessa, starting at Cambridge University, studying law, who after graduation and finding a job, begins a relationship with a man of the same profession. The relationship appears healthy and safe, but Tessa becomes a victim of rape, and everything changes. Suddenly she changes from the person defending the potential perpetrator as in her job to the accusation against the perpetrator. In this way the darkest themes of sex, consent, and justice are revealed.
The play, written by Suzie Miller, is based on a true story, making it that much more intense and scary. Through this brilliant performance, I was educated about the legal system, and most importantly its faults and its biases. When Tessa is testifying in the courtroom, she is the only one (and not the defendant) that has to describe what happens. Prima facie, derived from the Latin 'at first face' means 'on the face of it' and is a modern legal English term meaning upon initial examination, there is enough evidence to prove a case, so that the burden of proof is shifted to the other party - the default if this can't be disproven is the initial idea - Tessa is forced to take all the responsibility of proof. She also realises that she is the only woman in the room at one point. We know the crime has been committed, but Tessa herself even tries to convince herself that it hasn't happened. She becomes victim of the manipulative and cunning words of the barrister and her case is lost. But the play ends with a triumph nonetheless. She has sent a message and wants no woman to be in this situation again.
Despite not being political theatre, Prima Facie has an unmissable message about law and consent, and it is a play that shockingly displays our own society in front of us, and in such sense is reminiscent of a tragedy. Furthermore, the final catharsis after Tessa's testimony is unforgettably powerful. Comer does this all through excellent story telling, interchanging her own character and others voices, with brilliantly intense and naturalistic monologues cutting through joking conversation, and is aided by a stunning set resembling a courtroom chamber, symbolic costume changes, and amazing music and lighting.
I would recommend anyone to watch this play - especially for an audience of younger people.