In the last few years, Australian/British playwright Suzie Miller has achieved serious mantle.

Undergirding and binding it is Prima Facie, her play about sexual assault, women and the terrible shortcomings of justice under the law. Premiering at Griffin Theatre in 2019, it played on the West End and Broadway, win an Olivier and a Tony for Judie Comer’s killer solo performance.

A few months ago, it was announced that Miller’s story was being adapted for the screen.

Applause, gongs and celluloid cachet aside, the play is becoming a touchstone reference for effecting real-world shifts. As Bruce Meagher, chair of Griffin Theatre’s board, reminded audiences in an impromptu post-show speech at the opening night of Miller’s follow-up play, Jailbaby, high court judges in Northern Ireland are actually mandated to watch a recording of Prima Facie if they want to sit on the bench.

That’s how sharp and critically perspective-orienting its ideas are valued to be. It’s a whole new yardstick in social impact.

This isn’t a review of Prima Facie though. Miller’s new play must be judged on its own terms.

Anthony Yangoyan and Lucia Mastrantone in Jailbaby. Photo © Claire Hawley

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