Prima Facie; the play

 I went and saw a film made of a live performance of this highly rated play, put on by the National Theatre at the Harold Pinter Theatre in London’s West End in 2022. It’s a one-hander, played by Jodie Comer, best known as the quirky assassin with a diabolical sense of humour, in the black comedy hit, Killing Eve. I also saw her in Ridley Scott’s riveting and realistically rendered film, The Last Duel, set in mediaeval France, where she played alongside Matt Damon, Adam Driver and an unrecognisable Ben Affleck. The roles that Comer played in those 2 screen mediums, couldn’t be more different.
 
Theatre is more unforgiving than cinema, because there are no multiple takes or even a break once the curtain’s raised; a one-hander, even more so. In the case of Prima Facie, Comer is on the stage a full 90mins, and even does costume-changes and pushing around her own scenery unaided, without breaking stride. It’s such a tour de force performance, as the Financial Times tells us; I’d go so far as to say it’s the best acting performance I’ve ever witnessed by anyone. It’s such an emotionally draining role, where she cries and even breaks into a sweat in one scene, that I marvel she could do it night-after-night, as I assume she did.
 
And I’ve yet to broach the subject matter, which is very apt, given the me-too climate, but philosophically it goes deeper than that. The premise for the entire play, which is even spelt out early on, in case you’re not paying attention, is the difference between truth and justice, and whether it matters. Comer’s character, Tessa, happens to experience it from both sides, which is what makes this so powerful.
 
She’s a defence barrister, who specialises in sexual-assault cases, where, as she explains very early on, effectively telling us the rules of the game: no one wins or loses; you either come first or second. In other words, the barristers and those involved in the legal profession, don’t see the process the same way that you and I do, and I can understand that – to get emotionally involved makes it very stressful.

In fact, I have played a role in this process in a professional capacity, so I’ve seen this firsthand. But I wasn’t dealing with rape cases or anything involving violence, just contractual disputes where millions of dollars were at stake. My specific role was to ‘prepare evidence’ for lawyers for either a claim or the defence of a claim or possibly a counter-claim, and I quickly realised the more dispassionate one is, the more successful one is likely to be. I also realised that the lawyers I was supporting in one case could be on the opposing side in the next one, so you don’t get personal.
 
So, I have a small insight into this world, and can appreciate why they see it as a game, where you ‘win or come second’. But in Prima Facie, Tess goes through this very visceral and emotionally scarifying transformation where she finds herself on the receiving end, and it’s suddenly very personal indeed.
 
Back in 2015, I wrote a mini-400-word essay, in answer to one of those Question of the Month topics that Philosophy Now like to throw open to amateur wannabe philosophers, like myself, and in this case, it was one that was selected for publication (among 12 others), from all around the Western globe. I bring this up, because I made the assertion that ‘justice without truth is injustice’, and I feel that this is really what Prima Facie is all about. At the end of the play, with Tess now having the perspective of the victim (there is no other word), it does become a matter of winning or losing, because, not only her career and future livelihood, but her very dignity, is now up for sacrifice.
 
I watched a Q&A programme on Australia’s ABC some years ago, where this issue was discussed. Every woman on the panel, including one from the righteous right (my coinage), had a tale to tell about discrimination or harassment in a workplace situation. But the most damming testimony came from a man, who specialised in representing women in sexual assault cases, and he said that in every case, their doctors tell them not to proceed because it will destroy their health, and he said: they’re right. I was reminded of this when I watched this play.
 
One needs to give special mention to the writer, Suzie Miller, who is an Aussie as it turns out, and as far as 6 degrees of separation go, I happen to know someone who knows her father. Over 5 decades I’ve seen some very good theatre, some of it very innovative and original. In fact, I think the best theatre I’ve seen has invariably been something completely different, unexpected and dare-I-say-it, special. I had a small involvement in theatre when I was still very young, and learned that I couldn’t act to save myself. Nevertheless, my very first foray into writing was an attempt to write a play. Now, I’d say it’s the hardest and most unforgiving medium of storytelling to write for. I had a friend who was involved in theatre for some decades and even won awards. She passed a couple of years ago and I miss her very much. At her funeral, she was given a standing ovation, when her coffin was taken out; it was very moving. I can’t go to a play now without thinking about her and wishing I could discuss it with her.