“One-person, multicharacter stories often fail to develop suspense and momentum, but Miller has structured this one precisely...The abandonment of that structure in the play’s final third is likewise precise, and many will value the disruption ‘prima facie’ — at first glance.”
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“Miller, an Australian writer with a law background, makes ’Prima Facie’ a message play. What it’s saying isn’t revelatory, but it is worthwhile. And Comer is a first-class messenger.”
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“Her [Comer] virtuosity is not just a game—it’s emotional. Miller builds a respectable case, but Comer argues it brilliantly.”
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“If the writing and production falter, Comer’s performance speaks more than clearly than all that’s going on around her...Arguments may be convincing in the abstract. But it’s in staying with a singular case, making you feel for a wholly realized person, that Comer articulates what’s real, urgent, and unbearable.”
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“This urgent drama about the legal and emotional brutalities women often endure when they file charges of rape, particularly against a friend, lover or even husband, strikes home with scalding power.”
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“The drama is in how Tessa deals with the crumbling of her ideals and the smashing of her self-delusions, and in how Comer can so vividly, indelibly display both.”
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“ ‘Prima Facie’ manages to be both political and commercially viable theater, a rare feat these days, and one achieved here through the quality of this gifted actor, the talent and craft of the writer and the rich layering of experiential tension in the direction.”
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“This show, starring a popular television actress, will do its part in chipping away at the injustice that is women remaining voiceless and powerless after they’ve been sexually assaulted. And for that, ‘Prima Facie’ deserves high praise—even adulation.”
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