"Erivo still brings a powerful interpretation of her character to the screen"

Already an acclaimed theatre production in both the West End and on Broadway, Prima Facie makes its way to the screen under Susanna White’s direction, starring Cynthia Erivo in the leading role.

The story follows Tessa, a successful and driven criminal defence barrister. Coming from a working-class background, she worked her way through law school at Cambridge on a scholarship before fighting to establish herself in court.

Her work is so solid that she is shortlisted for an award, as well as for a new position in one of the most prestigious chambers. As a lawyer, Tessa takes on every case with the same ruthless precision. Her trust in the justice system is unwavering, regardless of the case or whether her defendant is guilty.

The tables turn when she finds herself on the other side of the fence, facing her own rape case. Tessa must prove that she is a victim and stand trial, being cross-examined with the same ruthlessness she once employed as a barrister. In an attempt to challenge the broken justice system she has been a part of, Tessa tries to apply the same rigour she once used to defend her clients, only to realise that not everything is as black and white as she once believed.

What made Prima Facie such a powerful and successful play was its one-woman format, allowing a single performer to command the stage and move freely through every range of emotion.

In this film adaptation, Erivo delivers a rigorous performance. 

However, her Tessa maintains a somewhat detached and demure composure, as if she were still disconnected from herself and her own experience. This stylistic choice removes some of the gravitas and dilutes the core message of the story. 

The film becomes more of a procedural drama than a public condemnation of a justice system that still places the burden of proof on traumatised victims, forcing them to recount horrific events while navigating a process that too often struggles to recognise their experiences.

Erivo still brings a powerful interpretation of her character to the screen. 

Unfortunately, the Tessa written for the screen doesn’t quite live up to expectations. Her performance remains composed on the surface, and even her inner monologue, through which she voices her internal rage, feels somehow controlled. This ultimately results in a more polished and scripted version of the story, making its message less poignant.

Adapting a one-woman show from theatre to the screen was always going to be a difficult task, particularly when the main character can no longer address the audience directly through her monologue. 

The supporting cast does a great job of complementing Erivo’s leading performance without taking the spotlight away from her.

All in all, although not as powerful as the original stage production, Prima Facie is still worth watching, especially at a time when the justice system remains deeply flawed and women’s voices still need to be heard, loud and clear, to be believed.