Witness the emergence of an extraordinary new stage talent.
Prima FacieFirst, as we become fully absorbed by the harrowing story of Tessa, a brilliant young barrister whose life is horribly upended, there is great pain and sadness in watching her go through a trauma nobody should ever have to experience. Some viewers will be understandably overwhelmed by it all.One hour and 40 minutes with no intermission. At the John Golden Theatre, 252 W. 45th St.
“Prima Facie,” which played London’s West End last year, somehow marks Comer’s professional stage debut. In the best of circumstances, when a film or TV star usually first treads the boards, they’re lauded for being surprisingly assured and confident — they hold their own, and you’re relieved you can actually hear them.
Her Tessa is a London lawyer who specializes in sexual-assault cases, and is especially adept at poking holes — sympathetically, she believes — in the plaintiffs’ fuzzy recollections. She sees herself as a master of “the game of law” and bats away suggestions that accused men hire her to defend them just because she’s a woman.
Most astonishing throughout are Comer’s quick shifts in posture, voice, pace and body language that instantly and impactfully reveal Tessa’s state of mind. The actress shoves heavy tables and chairs around the stage in director Justin Martin’s production, and looks drastically different by the end. I was in awe that I’d been in the room with the same person for an uninterrupted 100 minutes.
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