Written by Suzie
Miller
Directed by Lee Lewis
Griffin Theatre
Company
The Playhouse,
Canberra Theatre Centre to 29 June
Reviewed by Len Power
26 June 2019
In ‘Prima Facie’, a successful young lawyer finds herself on
the other side of the courtroom after a sexual assault by a colleague. Her journey from incident to judgement is a
powerful indictment against a legal system shaped by male experience, its
handling of sexual assault cases and our own complacency for allowing it to
happen.
Suzie Miller has written an extraordinary one woman play
with a compelling story line. It focuses
on Tess, a lawyer with many courtroom successes under her belt and an
invincible attitude that isn’t very likeable.
How her life changes as a result of being raped by a colleague is the
centre of this disturbing play. Required
to provide intimate details in the witness box of her relationship with the
accused and the alleged rape, she finds the scrutiny and cross-examination
confusing and humiliating.
The point is strongly made in the play that if a lawyer,
normally at home in the courtroom, falls apart under cross-examination, what
hope is there for any other woman? In
addition, it is clear that the woman, although technically a witness in the
case, is treated more like a villain than the accused. Things need to change and this play really has
you thinking about it.
 |
| Sheridan Harbridge |
Suzie Miller writes clearly and unemotionally, allowing the
facts of the case and its devastating effects to speak for themselves.
With so much depth of character and emotion to play with, Tess,
the lawyer, is a gift of a role for an actor.
Sheridan Harbridge’s marathon performance is compelling. She wisely doesn’t overplay the emotional
content and commands the stage from start to finish. Dislikeable and smug as the successful
lawyer, the change in her after she is raped is quite extraordinary. It’s almost like another performer takes over
the role from that point.
 |
| Sheridan Harbridge |
Director, Lee Lewis has given the play an excellent
production. Tight direction ensured the
play flows smoothly and clearly and her work with the performer has resulted in
realism and depth to a very high degree.
There is a powerful and focussed set design by Renée Mulder,
a subtle lighting design by Trent Suidgeest and an ominous and effective sound
design by Paul Charlier.
This is an important and deeply involving play, superbly
directed and acted.
Photos by Brett
Boardman
Len Power’s reviews
are also broadcast on the Artsound FM 92.7 ‘In the Foyer’ program on Mondays
and Wednesdays at 3.30pm.
