## Jodie Comer Reflects on Prima Facie’s Impact: “It Makes Men Reflect on Their Own Actions”
BAFTA-winning actor Jodie Comer, well known for her role as Villanelle in BBC’s *Killing Eve*, has spoken candidly about the reception of her critically acclaimed one-woman play, *Prima Facie*. The production, which debuted in London’s West End in 2022, has since garnered a national and international audience, with a UK and Ireland tour planned for next year.
*Prima Facie* explores the journey of Tessa, a skilled barrister whose professional life revolves around defending men accused of sexual assault. However, Tessa’s faith in the legal system is shaken to its core when she herself becomes a victim of such an attack. Through Comer’s powerful solo performance, the narrative seeks to dissect the complexities and biases ingrained within the judicial process surrounding sexual violence.
In a recent interview with British GQ, Comer discussed the profound effect the play has had on male audiences. She observed that the story’s challenging subject matter prompts some men to consider aspects of themselves they might prefer to ignore. “I imagine it’s quite confronting, honestly,” Comer remarked, acknowledging the potential discomfort that comes from introspection. “For a man, it might force them to look back at their own behaviour, and that could be deeply uncomfortable. But that discomfort is important. Issues of sexual assault aren’t only a ‘woman’s problem’, as society sometimes frames it.”
Adding a personal anecdote, Comer recalled the response of a male police officer who attended one of the performances. The officer subsequently wrote to the production to acknowledge the urgent need for change, recognising within himself the shortcomings of the system. He admitted, “This is me – I see myself, and I recognise the kind of work that needs to be done as a police officer.” According to Comer, interactions like this reflect the potential for storytelling to prompt not just reflection but genuine self-examination among law enforcement and the broader public alike.
Despite the thought-provoking impact upon male viewers, Comer pointed out that most of the personal, face-to-face feedback she receives comes from women who feel represented by Tessa’s story. Many women, she says, have shared emotional moments with her after performances, relaying experiences that resonate with what unfolds on stage. “It’s so rare for someone to look you in the eyes and share something so deeply personal,” Comer explained. “Often there aren’t words for it, but in just a brief exchange, you can feel what it means. Sometimes they say, ‘that was me,’ or simply, ‘I felt that’.”
Comer’s work on *Prima Facie* highlights both the individual and collective experiences tied to sexual assault, challenging audiences to consider not just the experiences of women, but the broader cultural and systemic failures that often impede justice. The play’s narrative poses difficult questions about who the legal process truly protects and encourages society to acknowledge and address the visible and often invisible barriers that survivors face.
Industry commentators have noted that Comer’s performance and the play’s content are part of a growing wave of theatre and film productions seeking to open up frank discussions around consent, justice, and accountability. By confronting these issues head-on, *Prima Facie* invites viewers from all backgrounds to evaluate their own roles within society, whether as individuals or as agents of institutions.
The latest edition of British GQ, featuring Comer’s full interview, is available for digital download and in print from 10 June. As *Prima Facie* prepares for its next tour, anticipation continues to build around the crucial conversations it ignites both in the theatre and beyond. The production stands not only as a testament to Comer’s extraordinary talent but as a vital cultural touchstone for our times.