The Killing Eve star’s performance gives life to a basic script.
New YorkerThe dynamic of someone holding her own in a hostile environment charges this performance.Tessa, Comer is from Liverpool, and she uses her own Scouse accent. She’s got an intuitive handle on this striver by way of Cambridge whose mother still cleans offices and buys her gaudy shirts to wear in court. Separately, she has also quickly mastered the physical modulation of stage work.
Miller’s play provides Comer with straightforward but potent material. Trained as a lawyer herself, she structures the play like an argument. At the top, there’s the case for the law as it is. Tessa, eager to prove herself as a criminal-defense barrister in London, has taken on a series of cases related to sexual assault and developed a knack for getting her male clients off the hook.
Tessa’s experience is gutting, even though Miller, as she brings things to a conclusion, falls back on the didactic. In the latter third of the play, as Tessa’s case unfolds, Miller writes her speeches that take the law to task, and they play well to an audience but become broad and vague. “The system feels faulty and mixed up,” goes one such line, “The legal system feels broken.
If the writing and production falter, Comer’s performance speaks more than clearly than all that’s going on around her. She locates, in Tessa’s disappointment, the resentment of someone cutting herself on a knife she thought she knew how to wield expertly. Comer emphasizes what makes Tessa specific—her humor, her chip on her shoulder, her fraught connection with her mother—even while Miller’s writing gets more generalized.
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