Inter Alia

What do you do when you are a highly respected Judge in the legal profession and suddenly have to face the moral dilemma of being the mother of an accused rapist?

This theme is brilliantly explored in the latest filmed production National Theatre Live: Inter Alia.

Inter Alia (a Latin phrase for ‘among other things) is an incredibly dynamic stage drama written by Suzie Miller, best known for her acclaimed play Prima Facie. It follows the story of London Crown Court Judge Jessica Parks, who has her life upturned by a single event. It concerns rape and the difficulty in securing a conviction for it. The accused is Jessica’s son Harry, and despite her feminist politics and her awareness of the statistics and sensitivities around these cases, she wants to believe there has been a mistake.

Justin Martin (who also directed Prima Facie) paces the play superbly and it gathers strength after the rape storyline emerges: Martin gives the play a sense of purpose, focussing Pike’s energy towards something more than a display of solo acting. 

He sets the play in multiple locations – a stage of a rock concert (or is it a boxing ring), a Judge’s chambers, the family home and a deserted children’s playground, all seamlessly transitioned. His characters are real people and totally relatable to the audience.

Martin is supported by a  creative team that includes set and costume designer Miriam Buether, lighting designer Natasha Chivers, movement and intimacy director Lucy Hind, sound designers Ben and Max Ringham, video designer Willie Williams for Treatment Studio, composers Erin LeCount and James Jacob PKA Jacwob, and voice coach William Conacher.

The production also features puppetry, illusions, child actors, and live music to create a world that is constantly changing but always revolving around Jessica.

Rosamund Pike (Jessica) is a British actress and producer known for her commanding performances across film, television, and stage. This production marks her return to the stage after 15 years. Pike handles the descent from confident professional to emotionally torn mother with nuance and intensity. She is a feminist in the courtroom but struggles with traditional gender roles at home, especially in relation to her husband, Michael. Her sex scene (fully clothed and featuring a guitar) with her husband and her ‘safe sex talk’ with her son are highlights of her performance as is the last scene which I will not reveal in this review for fear of spoiling the viewing experience.

Jessica’s husband Michael (Jamie Glover) is a man trapped by the social conventions of his upbringing and the resentment of his wife’s position. Glover turns what could easily become a one-dimensional role into a multi-faceted character who loves his wife and son, but doesn’t know how to balance his position in the family.

Jasper Talbot as Harry nicely captures the insecurity of a teenager discovering real sex for the first time after exploring the topic online. His ‘confession’ scene is a highlight as is his vulnerability.

The ensemble - Louisa Clein, Luke Garner-Greene and Thomas Michaelson appear briefly and add to the narrative. The children – Esma Akar. Liliana Argenio-Winch, Edward Butler, Ella Critchell, Charles Dark and Ayrton English appear in the playground scenes.

The emotional depth of this production is remarkable, particularly when dealing with the emotional burden of a working mother faced with the guilt of possibly failing her son. It is sensitively handled and leaves the viewer questioning the role of male and female parents, and the validity of the process of law, especially when it concerns a rape accusation.

As she did in Prima Facie, Suzi Miller tackles the subject matter head on and delves deeply to reveal raw human emotion and challenges the viewer to question their beliefs. It is a courageous play and the National Theatre are to be congratulated for including it in their season. It is riveting from start to finish.

National Theatre Live: Inter Alia is a tour de force of acting, at times tender, at times frenzied, at other times harrowing, but always riveting and a must to see, especially if you are a parent of a teenager. As always, the National Theatre have produced a magnificent piece of theatre. The final scene will gnaw at your emotions!

Barry Hill OAM

Photo credit – Manuel Harlan