Three years ago, playwright Suzie Miller crafted a career-defining role for Jodie Comer in her West End debut, Prima Facie. Now, excitement builds for Rosamund Pike’s performance in Miller’s new play, which reunites the talented team behind the hit production.
Unlike the confrontational narrative of Prima Facie—where a defense lawyer uses her skills against a backdrop of personal trauma—Inter Alia explores the theme of justice through the lens of Jessica Parks (played by Pike), a dedicated female judge striving to uphold fairness. Her life takes a dramatic turn when a personal accusation shakes her idealism.
Jessica is portrayed as a multifaceted professional who embodies the compassion and strength the legal system desperately needs. She balances her courtroom responsibilities with an acute awareness of the emotional struggles faced by vulnerable witnesses, all while deftly handling cocky male attorneys with sharp wit. But her role extends beyond the courtroom; she navigates the complexities of a high-achieving woman’s life, where her career lives “inter alia” within everyone else’s lives.
Director Justin Martin infuses the production with dynamic energy, employing live music and Pike’s kinetic performances to heighten the tension. She seamlessly transforms between various personas, from a karaoke enthusiast to a weary homemaker, as the set and lighting work to blur the boundaries between her professional and personal worlds.
The narrative highlights societal pressures on women—Jessica’s friend underscores the exhaustion of maintaining high-speed productivity, a critique of a culture that demands such intensity. Though “emotional labor” is an unspoken theme, it resonates throughout her character’s experiences. While she manages an elaborate dinner party, her husband Michael’s sole task is simply to order the cheese.
The play also features Jamie Glover as Michael, whose character grapples with feelings of inadequacy due to his wife’s successful career. Their son, Harry, portrayed by Jasper Talbot, oscillates between sensitivity and rebelliousness, ultimately emerging as a character with depth as the story progresses.
At its core, Jessica serves as the emotional anchor of the play, echoing the challenges faced by Ibsen’s heroines, caught in a web of societal expectations and personal failures. While she strives to raise her son with strong feminist values, external pressures threaten her spot in this tightly woven family narrative.
Miller’s advocacy for social and legal justice is woven into the fabric of the play. However, some critiques of Prima Facie’s reliance on didactic dialogue apply here as well, as Inter Alia takes on a heavier tone in its later stages, leading to a slower pace amidst escalating confrontations.
As the set darkens and Jessica becomes metaphorically lost, the audience is left feeling disoriented—mirroring the confusion of parenting in today’s world. Despite this, Inter Alia remains a powerful commentary on the justice system and a thought-provoking exploration of modern motherhood. With Prima Facie set for a UK tour in 2026, Miller’s works continue to resonate as both relevant and illuminating.
Inter Alia is currently showing at the Lyttelton Theatre, National Theatre, London until September 13, and will be available in cinemas starting September 4.
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