Suzie Miller’s play addresses sexual assault, which, as a program insert points out, has risen to epidemic levels. An estimated 735,000 women in the US were sexually assaulted in the past year, including 97% of women aged 14-25. Prosecution of sexual assault cases is difficult, and a large number of the accused men are not convicted.
Jodie Comer portrays a lawyer who is assaulted and who struggles to be believed, despite her skill at advocating. Her assailant, as is often the case, is a man she knows and had dated. Ms. Comer gives a searing performance over the course of the 100-minute, no intermission, production.
What struck me most were the sonic elements of the play. The program notes that the pre-show music, written by Rebecca Lucy Taylor, is from an album titled PRIORITISE PLEASURE by SELF ESTEEM. Ben & Max Ringham designed a stunning array of sound effects, so stunning that I was ready to award them the Tony for Sound Design of a Play early, until I looked and saw that they are also nominated for sound design of A Doll’s House.
I was glad to be out on the street at the end of the performance and to walk back to my hotel with my own thoughts.
I’m also glad that theaters are dark on Mondays. I need not to see a show today.
Bill Eadie |
